A childless middle-aged couple faces a marital crisis of sorts.
A childless middle-aged couple faces a marital crisis of sorts.
Flavour of Green Tea Over Rice, Ochazuke no aji, O Sabor do Chá Verde Sobre o Arroz, Вкус зеленого чая после риса, Flavor of Green Tea Over Rice, Le goût du riz au thé vert, Der Geschmack von grünem Tee über Reis, 오차즈케의 맛
"It's enough. I'm glad you understand." So says Mokichi (Shin Saburi) to his wife Taeko (Michiyo Kogure) towards the end of The Flavor of Green Tea Over Rice—and that line right there not only summarizes Yasujiro Ozu's view of marriage as contingent on compromise and empathy, but also succinctly sums up the great Japanese filmmaker's complex, unsparing yet wise humanist perspective as a whole. Just when you think Ozu, after putting the Satakes' troubled arranged marriage under an alternately comic and dramatic microscope for about an hour and a half, is about to succumb to bitterness and cynicism, he surprises us with a scene overflowing with tenderness and love.
Without acceptance lies loneliness. Whether the initial passion was there or not, "reliability" is what inevitably keeps a marriage going. Someday the young ones will learn.
How Ozu makes a movie.
1 Tablespoon of Japanese music
A cup of Marriage
A Dash of amazing acting
And just for fun spice it up with a name that has nothing to do with the movie but makes you really want sushi
1. Mix it all together in a bowl of happiness
2. Put it in the oven on high for about 8 hours
3. Enjoy, for a bit of extra flavor, spice it up with about 10 scenes where the characters drink Sake
This is undoubtedly one of Ozu's greatest films. Even better a marriage-related effort than Early Spring! Both films can be regarded as comedies of remarriage. As great as Ozu's top tier works, Flavor of Green Tea Over Rice is about a wealthy middle-aged couple (beautifully played by Shin Saburi and Michiyo Kogure) who have marital difficulties, and their niece uses the couple's troubles as an excuse for not attending arranged marriage interviews. It's unmistakeably a film by the great Ozu. A number of Ozu's old motifs are here, including the clash between tradition and modernity. But here it's dealt with in a very complex fashion. There are no easy answer for anyone's predicaments. A masterpiece.
"Think carefully and choose your husband well. It's for the rest of your life. Whether you like his tie or the way he dresses doesn't matter at all. What's most important is whether he's reliable or not."
Bingung nonton Ozu yang mana jadinya aku pilih ini deh karena judulnya unik pake nama makanan Jepang. Makanan Jepang ini ngegambarin isi dan makna dari film.
Disini ngasih liat pasutri (Taeko dan Mokichi) yang berasal dari perjodohan dan ngasih liat karakter lain bernama Setsuko berumur 21 tahun yang gamau dijodohin.
Scene pasutri nyiapin dan makan bersama itu adem banget asli 😍
Ohiya nonton ini tengah malem bikin aku laper 😭
"The trick is a light touch."
Ozu’s cinema of smiles and sighs stands solitary in every sense of the word. It’s crisis sits just under the repressed circumstances of ‘modern’ society, it’s present in every second of the film, whether it is immediately apparent or not. The domestic tug and war of everyday, that taste of everyday: green tea and rice. That pessimistic optimism fascinates me to no end, as if capturing this undying truth of the cycle of the family and of life, fuelled by the generational gaps in young and old. A life lived contrasted by the hope of life to be lived.
The final 15min are everything.
Taeko and Mokichi, an estranged married couple from polar class backgrounds, fumble together in the kitchen, working for the first time as equals to make a humble meal of simple rice and pickled vegetables. Is this the first time they’ve ever made anything in the kitchen? (the maid usually takes care of everything, reinforcing the social ranks at play). They’ve been severely unhappy and uncommunicative with each other up to this point, owing much of their frustration to their arranged marriage and differing class values. Taeko, the spoiled daughter of a wealthy inheritance, has grown to resent her simple-minded, boorish husband. Mokichi, the lower-ranked “bone-head,” simply allows himself to get abused without changing his own…
I hadn’t seen a sound Ozu since the middle of 2010, and I forgot how weird it is to watch one of his films, meaning if you are following the camera action and cuts and ignoring the drama on screen, it might be infuriating. Example: during the scene where the four women sing at the spa (Ozu’s Spa Breakers, anyone?), he cuts to an outside shot of the building, only to cut back and continue the song instead of fade out. Even just within the intimate two-person scenes, he’ll cut to another entire plane of action without warning or obvious cause. But this is Ozu’s main game, and he makes this work because he has a handle on our relationship…
"Cozy and down-to-earth, without ceremony and affectation" is how Mokichi Satake describes himself and how, from now on, I will describe the films of Yasujirō Ozu. He treats these characters like he personally knows them.
The Flavor of Green Tea Over Rice is one of Ozu's marriage-related films. This is the first Ozu film I've seen which directly deals with marriage and it's common pitfall : a lack of communication. Ozu is often bittersweet, sweet, but never outright bitter. A prevalent influence in his films is the war. Ozu's characters never got over World War II, and rightfully so. War changed the way they view things and killed sons and husbands. But it turned strangers into acquaintances, forever bonded as…
at film high school all the film bros call me a Nerd for liking slow boring Asian movies about Asian women learning 2 respect their husbands instead of epically bad ass Christopher Nolan movies. What the? Let's dunk this nerd! they say as they smash my copy of "the flavor of green tea over rice"
first ozu!!!!! i now feel sad and hungry! thanks a lot!
The complexity between tradition and modernity that permeates Japanese society in the mid 20th century is one of the great themes that Ozu explores throughout his filmography. It is by examining everyday issues concerning family and relationships that he finds the contradictions and nuances of a nation that is in the midst of a reconstruction process. In Ochazuke no aji the director focuses his attention on the bourgeoisie and the institution of marriage.
Mokichi and Taeko are a middle-aged couple who have been married for several years; their union, as used to be the case in that country, was the product of an arrangement. With the passage of time, the relationship has grown cold and distant; he is a simple…
Story about relationship, family, communication and understanding.
At times it feels like a movie from a modern era. Beautiful. A classic.
Should have ended in the kitchen though
My first Ozu
A heartwarming simple story about marriage and tradition
Just a wild degree of camera movement by Yasujirō on this one
Lovely little film, Ozu and Noda exploring the dynamics between men and women/marital strife- it makes an interesting companion piece to The Nest from last year, which I was much cooler on (Carrie Coon aside). That movie was all dread and toxicity, whereas this is imbued with more humor and joy, even when the primary marriage seems so dysfunctional
When we went to Tokyo, I was obsessed with tracking down ochazuke- tea or broth served over rice and other things are thrown in, often used as a way of getting rid of leftovers. I’m guessing the association is that it’s a simple, cheap, easy comfort food. I got it in a restaurant, so it was fancier than all that, with fish, seaweed in it. Fucking delicious. We visited Ozu’s grave that same day.
Could’ve ended sooner because it made its point and didn’t have to hammer it home. But maybe that’s just an outgrowth of being familiar with Ozu as a filmmaker. Still quite enjoyable and filled with frames I could stare all day at.
How does he do it?? It’s always like “ok, sure this is very good I’m enjoying it” and then it hits you, and without being particularly different from the rest of the movie, the last fifteen minutes turn the whole thing into a masterpiece.
Cozy, especially the ending. Its a very intimate look at marriage and love in general within postwar Japanese society
When Aya says "men are a nuisance" yet the only men we are shown throughout the film are literal angels.
Felt a little overlong, but I enjoy spending time with Ozu’s characters. And I have a new dream date: eating heaping amount of noodles (with lots of broth!) with Noboru.
One of Ozu's great works that has been undermined for too long mainly by being probably his most complex look on marriage. Mainly by subverting the core gender dynamics in usual domestic dramas by making the husband passive and the wife aggressive. It enables you grapple with the facets of everyday life and insinuations that uphold notions of gender and marriage. It is one of the great films by one of the finest directors in film.
My parents are not cinematically literate people, and I can prove it mathematically. To this day, they still give me crap for taking them to see the newest restoration of 2001: A Space Odyssey (!) in theaters, shrugging it off as agonizingly slow (eh, fair, I guess) and only enjoyable for "hardcore movie people" like myself (a statement that is patently untrue, considering it also ranks highly on IM-fucking-Db). Yet my dad remains ever insistent that Waterworld with Kevin Costner is, ahem, "not bad." I've failed them, I guess is what I'm trying to say.
However, my mother managed to genuinely surprise me this last Christmas. You see, they both know I collect movies like most other folks collect books (though I've…
What's important is being reliable.
MundoF 13,088 films
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➡️Minor Interest Films: In the Closet: A…
mishima24 17,247 films
Constantly updating. If you know of something I should add, or I added something erroneously here, please let me know…