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Posts Tagged ‘Tsutomu Yamazaki’

High and Low

Tuesday, May 12th, 2020

Before going into seclusion to plot my revenge on the coronavirus I rented a bunch of Akira Kurosawa movies. Didn’t even really know what they were about. Luckily one of them was HIGH AND LOW, because that’s what more than one of you recommended after I reviewed STRAY DOG. Another contemporary police procedural one. No samurais in it at all.

One thing I did not expect: themes of shoe industry integrity. It opens with our initial protagonist Mr. Gondo (Toshiro Mifune in a white cardigan) meeting at his house with his fellow board members for the National Shoe company. They’re each in charge of one specific part of the company (one guy conveniently lists them all off for us), and Gondo’s is the factory. All of them agree that “the old man,” (the president of the shoe company, not Dan Inosanto’s character from REDBELT) is out of touch with what modern women want. They call his pumps “combat boots.” But they’ve come up with a plan that by teaming together they represent a majority of shareholders and can replace the old man and begin making shoes that are more current and cheaper to manufacture. (read the rest of this shit…)

Tampopo

Tuesday, February 17th, 2015

tn_tampopoRemember when I wrote about the Japanese remake of UNFORGIVEN and THE LAST SAMURAI and I was talking about how great Ken Watanabe is and how I wanted to see him in more things? Well here’s a movie as far back as 1985 where he plays Gun, a stranger who drifts into town and helps out by… well, to be honest he helps a lady improve her noodle restaurant.

And actually he’s not the main guy, he’s the younger sidekick to a truck driver named Goro (Tsutomu Yamazaki). He doesn’t have that much to do. But in the opening he’s reading a book about the author eating with an old man who “has studied noodles for 40 years.” The scene illustrates a long, OCD process of eating soup with steps including skimming the surface with the chopsticks “to show it affection,” moving the pork slices and dipping them into the right side for later, and then eventually picking them up and tapping them on the edge of the bowl to drain them, even apologizing to the pork. It’s ritualistic, fetishistic, doesn’t make alot of sense, but it introduces the movie’s worshipful attitude toward food. And toward whatever you choose to value during your days on earth.

As the protagonist pointed out in my book Niketown, food is something you eat and then later you shit it out. But TAMPOPO argues for getting the most out of these basic things. Executing them at the highest possible level, showing them respect, enjoying them. If we could appreciate anything as much as this old man does his bowl of soup we would be living a great life. (read the rest of this shit…)