Reviews (54)

A nearly flawless experience
This is a masterful movie by director Juzo Itami. It is a story of the truck-drivin' cowboy Goro who strolls into town, sets things right and rides off into the sunset. Rather than kill the bad guys however, he helps a widow become sucessful running her late husbands ramen shop. Itami lends a mosiaic quality to the movie with many character sketches about food's pervasive influence on human behaviour. Tsutomu Yamazaki who plays Goro, and Nobuko Miyamoto who plays Tampopo, both from Itami's "A Taxing Woman", give wonderful performaces. The DVD contains a complete filmography that is a great window into Itami's other works. The DVD is letterbox and looks good. The sound is 3-channel, Japanese only with English subtitles selectable. The timing on the subtitles is at times sloppy, which is too bad since it is a subtitle-only release. I would have liked very much to see directors commentary but language may have restricted this. The DVD gets 4 stars for minor subtitle issues, and lack of more deluxe treatment, but I give the story, and my review, 5 stars. This is really a must have, in a decent package for a foreign film.

Dandelions, Cowboys and the perfect Ramen
"Tampopo" is one of those rare films that just...works. Every piece of it is perfect, combining to form a more flavorful whole, like a well-made dish of ramen noodles. Itami was inspired for this film, and it is easily one of the best Japanese films ever made.

Japanese culture is filled with a love of food. Japanese travel brochures are filled, not with pretty sights and adventures, but with photos of local delicacies and dishes. Food questing is a popular hobby, with each person knowing a local favorite shop, or a master chef. Restaurants also tend to specialize, often serving only one dish such as ramen or udon noodles. "Tampopo" perfectly captured this national obsession, creating a story that is undeniable Japanese. Goro and Tampopo's search for the perfect broth, the most delicious way to cut meat and such is an honest and charming portrayal.

There is plenty going on in this film, with the sexual subplot of the gangster and his lover exchanging food and sex, or the young executive fluent in French cuisine. Each vignette forwards the tone. Along with this is the marriage of the samurai and the cowboy in the character of Goro, and the delicate strength of Tampopo herself.

You really can't go wrong with this film.

You will be hungry for real ramen!
It can be very difficult to describe this movie and what the premise or plot is. Oh, there is the central plot, make no mistake, but the entirity of the film is a flurry of sub-stories and vignettes that act like ingredients to the ever-present ramen (Japanese noodle soup) otherwise known as this brilliant gem out of Japan. The bottom line, the final product is a fancifal tale based around food and how our lives are encompassed by it, how we struggle with it, and most importantly how integral it is to human beings on the whole.

Tampopo also is an homage film to a few genres depending on the scene. For example, Goro (an obvious samurai reference) drives into town on a truck... with cow horns on the top! He wears the cowboy hat constantly and those themes are as thick as the noodles he's seeking out. There is also a tribute to Chaplin/Keaton and the silent comedies with one of the vagabonds in his efforts to make a rice omelette. There are a few mob movie shots as well, including the semi-narrator or guide of the man in the white suit. Beyond celebrating these genres, though, as well as film itself, this really is a story about food.

Tampopo is a widowed soup cook who can't really make soup. Ramen, one of the staple Japanese foods, is as varied and unique in stores throughout the town as there are chicken soup recipes in the US. She can't seem to make a good bowl, though, and Goro feeling bad for her, decides to stay on and help her out with the help of his sidekick Gun. Along the way, they pick up a colorful band of characters each with his own addition to the recipe and technique that helps Tampopo understand the importance of finding that perfect bowl of Ramen.

Light-hearted, more than a bit hilarious, and full of twists and turns, Tampopo is definitely one of the best movies to come out of Japan. Aside from comedy or possibly drama, one would be hard-pressed to try to define this movie as the movie more defines itself and others like it. A life story for sure, definitely a good laugh, and a little eye-opening at times, too. Not for children, though, as there is some nudity and minor violence. Film buffs should already own this movie and anyone else who has a love of film or a desire for one of the most fun movies ever made, pick this one up. You will not be disappointed. Enjoy!

Warning
This DVD is in my garbage. I bought it for a young person who is learning Japanese. There is some good stuff, humor, cooking, but the cruelty is such that I could not give it to her. The worst is the live, struggling small turtle being sliced straight down, all along the body, just behind the head in front of the shell. There are also some unpleasant sex scenes, including a man stimulating a young woman by placing a container of live fish to wiggle against her bare abdomen. What a disappointment!

Still Tastes Great
I watched this one with a group of friends last night... it's been about 15 years since my first viewing and 8 since the last one. It's still brilliant, quirky and as enjoyable as ever.

A very John Wayne like truck driver plays noodle guru to a single mom struggling to be a master noodle chef. A whole host of characters are brought in to assist and some very unlikely types prove to have esoteric food knowledge. This is a quest for enlightenment in guise of perfect ramen.

The main story is broken by 2 and 3 minute glimpses into amusing (and at times bizarre) but totally unrelated stories revolving around food (with the food-sex connection illustrated vividly).

One of my favourite films. ... Read more

Amazon.com essential video

Like seeds of a dandelion blowing in the wind, the plot of Tampopo wanders in several directions, following the lives of a quirky collection of characters. At the heart of this film is a young widow named Tampopo (Nobuko Miyamoto), who is struggling to make ends meet by running a noodle restaurant. Goro (Tsutomu Yamazaki), a truck driver, saves Tampopo's young son from being beaten by a group of school girls and is rewarded with a bowl of very bad ramen (noodles). Goro tells Tampopo the awful truth about her cooking and she asks for his help. Together they search for the perfect ramen recipe.

Intersecting this part of the plot are several smaller and less well-realized stories. Koji Yakusho, who stars in Shall We Dance, appears as a sensuous gangster who would rather play with his food than eat it. Then there's the mysterious Noodle Master who lives with a group of street vagabonds and a young executive who knows how to order food from a French menu, but not how to preserve the dignity of his superiors.

While the film as a whole feels somewhat disjointed, writer-director Juzo Itami manages to infuse Tampopo (which means "dandelion") with a sense of Japanese joie de vivre that is worth experiencing. Take notes during the "soup scenes" and see what you can cook up for yourself.--Luanne Brown ... Read more

Reviews (54)

A nearly flawless experience
This is a masterful movie by director Juzo Itami. It is a story of the truck-drivin' cowboy Goro who strolls into town, sets things right and rides off into the sunset. Rather than kill the bad guys however, he helps a widow become sucessful running her late husbands ramen shop. Itami lends a mosiaic quality to the movie with many character sketches about food's pervasive influence on human behaviour. Tsutomu Yamazaki who plays Goro, and Nobuko Miyamoto who plays Tampopo, both from Itami's "A Taxing Woman", give wonderful performaces. The DVD contains a complete filmography that is a great window into Itami's other works. The DVD is letterbox and looks good. The sound is 3-channel, Japanese only with English subtitles selectable. The timing on the subtitles is at times sloppy, which is too bad since it is a subtitle-only release. I would have liked very much to see directors commentary but language may have restricted this. The DVD gets 4 stars for minor subtitle issues, and lack of more deluxe treatment, but I give the story, and my review, 5 stars. This is really a must have, in a decent package for a foreign film.

Dandelions, Cowboys and the perfect Ramen
"Tampopo" is one of those rare films that just...works. Every piece of it is perfect, combining to form a more flavorful whole, like a well-made dish of ramen noodles. Itami was inspired for this film, and it is easily one of the best Japanese films ever made.

Japanese culture is filled with a love of food. Japanese travel brochures are filled, not with pretty sights and adventures, but with photos of local delicacies and dishes. Food questing is a popular hobby, with each person knowing a local favorite shop, or a master chef. Restaurants also tend to specialize, often serving only one dish such as ramen or udon noodles. "Tampopo" perfectly captured this national obsession, creating a story that is undeniable Japanese. Goro and Tampopo's search for the perfect broth, the most delicious way to cut meat and such is an honest and charming portrayal.

There is plenty going on in this film, with the sexual subplot of the gangster and his lover exchanging food and sex, or the young executive fluent in French cuisine. Each vignette forwards the tone. Along with this is the marriage of the samurai and the cowboy in the character of Goro, and the delicate strength of Tampopo herself.

You really can't go wrong with this film.

You will be hungry for real ramen!
It can be very difficult to describe this movie and what the premise or plot is. Oh, there is the central plot, make no mistake, but the entirity of the film is a flurry of sub-stories and vignettes that act like ingredients to the ever-present ramen (Japanese noodle soup) otherwise known as this brilliant gem out of Japan. The bottom line, the final product is a fancifal tale based around food and how our lives are encompassed by it, how we struggle with it, and most importantly how integral it is to human beings on the whole.

Tampopo also is an homage film to a few genres depending on the scene. For example, Goro (an obvious samurai reference) drives into town on a truck... with cow horns on the top! He wears the cowboy hat constantly and those themes are as thick as the noodles he's seeking out. There is also a tribute to Chaplin/Keaton and the silent comedies with one of the vagabonds in his efforts to make a rice omelette. There are a few mob movie shots as well, including the semi-narrator or guide of the man in the white suit. Beyond celebrating these genres, though, as well as film itself, this really is a story about food.

Tampopo is a widowed soup cook who can't really make soup. Ramen, one of the staple Japanese foods, is as varied and unique in stores throughout the town as there are chicken soup recipes in the US. She can't seem to make a good bowl, though, and Goro feeling bad for her, decides to stay on and help her out with the help of his sidekick Gun. Along the way, they pick up a colorful band of characters each with his own addition to the recipe and technique that helps Tampopo understand the importance of finding that perfect bowl of Ramen.

Light-hearted, more than a bit hilarious, and full of twists and turns, Tampopo is definitely one of the best movies to come out of Japan. Aside from comedy or possibly drama, one would be hard-pressed to try to define this movie as the movie more defines itself and others like it. A life story for sure, definitely a good laugh, and a little eye-opening at times, too. Not for children, though, as there is some nudity and minor violence. Film buffs should already own this movie and anyone else who has a love of film or a desire for one of the most fun movies ever made, pick this one up. You will not be disappointed. Enjoy!

Warning
This DVD is in my garbage. I bought it for a young person who is learning Japanese. There is some good stuff, humor, cooking, but the cruelty is such that I could not give it to her. The worst is the live, struggling small turtle being sliced straight down, all along the body, just behind the head in front of the shell. There are also some unpleasant sex scenes, including a man stimulating a young woman by placing a container of live fish to wiggle against her bare abdomen. What a disappointment!

Still Tastes Great
I watched this one with a group of friends last night... it's been about 15 years since my first viewing and 8 since the last one. It's still brilliant, quirky and as enjoyable as ever.

A very John Wayne like truck driver plays noodle guru to a single mom struggling to be a master noodle chef. A whole host of characters are brought in to assist and some very unlikely types prove to have esoteric food knowledge. This is a quest for enlightenment in guise of perfect ramen.

The main story is broken by 2 and 3 minute glimpses into amusing (and at times bizarre) but totally unrelated stories revolving around food (with the food-sex connection illustrated vividly).

One of my favourite films. ... Read more

Description

Barjo is a slightly psychotic story of love and life in the modern world and beyond. Fanfan lives with her husband Charles and their two daughters in a stark, modern house in suburbia.Her nerdy twin brother Barjo lives nearby, busily waiting for the UFOs to come that will signal the end of the world. ... Read more

Reviews (10)

Classic movie undone by dvd remastering
I have two copies of this movie-one on VHS and this one on DVD. I received the DVD as a present. Itami is one of the greatest modern directors in Japan who unfortunately committed suicide. This movie was enormously popular in Japan and deservedly so with its many touches of black humor, story, writing, acting and direction. The VHS is quite watchable. However, when I put the DVD on I immediately had to adjust my picture settings to even see the picture. It's unclear and fuzzy throughout the movie. In all of the film the English subtitling is difficult and sometimes impossible to read. I would say it is a prime candidate for a recall by the company. Since I can't give separate ratings for the movie vs. the DVD treatment I'm forced to give it 2 stars.

Middle of the road
R-Rated for a small amount of sex and nudity, this is pretty much a movie like most others, a human interest story involving a diligent tax collector (female) and a tax dodger. I found it interesting for casual entertainment (I rented it), for a look at a slightly different society, and a look at Japan that isn't kimono's and Geisha girls - this is modern Japan as such and a breath of fresh air from the "Yes'm massa" eyes-bowed-down type of Japanese movie. The lead female is freckled, not a sex-pot, but a nice looking gal and the main male is a hard nosed, limping fellow. In general, this is for a mature, general audience who isn't cranked over into some offbeat genre (if you need violence, military, porn, true romance, kiddie cartoons, space ships, whatever you'll find it dull - but an ordinary person in a good mood looking for a casual view might like it). ...thought I'd give a more honest opinion.

I myself am looking for more non-European/American movies featuring real people in real settings, but alas that is rare. I'd like seeing Japanese and Asiatic and African movies, even dubbed, which are something besides "Morphen Power Ranger" ... or "Kill 'Em All" garbage, but rather feature human beings getting along in life. But, they don't seem to exist here in the USA. Too much artsy or glitzy Holloywood hype gets in the way, it seems.

Great Movie, poor DVD
This movie is quite good. Not exactly like Tanpopo but it's a fascinating movie with memorable characters. Unfortunately, the DVD version is absolutely terrible. The DVD version of Tanpopo is a hundred times better. It's very clear that this was a sloppy job. It's nothing but a very poor VHS transfer of the movie to DVD. Bad thing is that the DVD highlights the imperfections of the original VHS so that even people like me can see it. The quality of picture is fuzzy and the subtitles are the ones from the VHS (not DVD subtitles). This results in words that are impossible to see in some scenes and hard to read in all the others since the picture quality is quite fuzzy. Unless you are a die-hard fan of this movie, you're better off spending your money getting the DVD of Tanpopo. The DVD of Tanpopo is not perfect but the quality is still reasonable good and sharp and much better than this ... job.

Utterly Delightful ...
As Tampopo is truly delicious, this film is an unadulterated joy. Fans of Juzo Itami and his wife, Nobuko Miyamoto will recognize old friends from other adventures in this offering. Like a much beloved repertory company, familiar faces are to be found new and surprising roles.

Taking an unlikely subject for heroic portrayal, Itami's (as usual) delightfully feministic touch on that dreaded villain the tax auditor is effective and engaging. Unlike MINBO, which for some inexplicable reason bores me beyond redemption, this film is easily accessible and eminently watchable. Aside from some quite graphic nudity at the very beginning, (view by parents first), the film is an excellent overall story accessible to an audience over about 15. (Depending on your feelings about sex and taxes).

In reference to the subtitling, I must say that ALL subtitling for Itami's films leaves a great deal to be desired, and I frankly don't see that much difference between the DVD and VHS versions ... but I must admit I am not a connoisseur on the matter, either. The ease of use and storage outweigh all other concerns for me.

By the VHS version instead
This outstanding (five star) movie has illegible captions in the DVD version. If you want to be able to read the captions, buy the VHS version instead. Only get the DVD if your Japanese is good enough to understand the movie without captions. ... Read more

Reviews (12)

not bad , quite surprising for non-Japanese ...
hi every1 . I've seen this video within the studies of my varsity . It's nice and introduce the Japanese style of life and most of all their way of dealing with funerals.

To be short I will only say that the most overwhelming thing in the movie was that the mourning family had to use a VIDEO CASSETTE with instructions about how to act in a funeral and what TO SAY !!!!!!

enjoy

Soushiki: not a comedy by any means
At first I was worried when I purchased this film, because my fellow amazon reviews gave it such a low rating, however, I was pleasantly surprised that it was the DVD not the movie itself, that received such low scores. This is a wonderful film, although, for the life of me, I can not figure out why this film is refered to as a "comedy." It is true there are some funny moments when the main character and his wife are learning their lines to address mourning guests and at moments such as when the phone rings during a prayer. What this film's strongest point is, however,a glimpse of Japan while the bubble economy was at it's peak. Even someone just giving a cursory glance at this film ill realize how important money is to the family. It is the chief conversational topic throughout the movie. How much do we have to pay for the coffin? How much are the obento lunchboxes, etc. The power of money can really be seen when the monk arrives in a very stylish car and is given a gift of french tile to make a table for his garden. Funerals are extraordinarily expensive in Japan, so many Japanese do not look at Buddhist monks as a sign of benevolence, but as money lovers. However, although money is a major subject, as is the preocupation of acting a certain way during the funral, the key point of this movie is that although the world might be completely obsessed with money, in death one can bring members of the faily closer together, and in death there is also rebirh, as can be evidenced at the end of this film.

Not what I expected.
This film was nothing like I thought it would be. Having spent four years in Japan I wanted to see for myself what all the controversy was about surrounding 'The Funeral'. Well, I really liked this film, and found it had a lot to offer. From start to finish there is a lot going on at all levels of the emotional spectrum. I found it very touching, a little sad, a little funny, and very human. The quiet love and dignity of the widow and her daughter are the glue that hold the family and friends together. The widows humble expression of thanks to the guests after the funeral, thus releaving the son-in-law of the obligation, is nothing but poetic. I Recommend this film.

Cathartic and Hillarious if...
In order to really appreciate this film, you really have had to been through the experience... for that reason, there are a lot of people who will watch it and not get it.... - - I first saw the film before I really knew very much about Japanese culture... Some elements of the humor were universal... and I still could appreciate the Itami Juzo's dry surrealism... but after seeing the film I came to live in Japan on and off for 9 years and went through the experience, watching the film went beyond "interesting and sometimes funny"... one one had it was incredibly cathartic... on the other hands, uncomfortably hillarious... Its one of those films that if you'd just been through the experience and you watched it, it would definitely serve as a cathartic dose of laughter... - - Too many scenes, unfortunately, parody experiences and rituals (sometimes seemingly senseless, others incomprehensibly complex) that you'd really have to experience to appreciate... If you haven't been through them, those scenes might be a bit boring... for this reason my advice is this : read up on the subject first... and also, watch the film with an understanding that Japanese funerals are very different than Western funerals... The strange scenes in this film in many way present Japanese funerals as they are, and in other ways parody them...

All in all, having been lucky to have gone 9 years without any close personal losses in Japan, but recnetly having lost an important member of our family, I can't tell you how thankful I am that Juzo Itami made this film !

A wry commentary on the loss of meaning in traditions
There are times when death has been appropriate and hilarious material for a comedy. The juxtaposition of the seriousness of a funeral with wacky hijinks and hootenannies makes for funny stuff. But don't expect to find any of that in Itami's social commentary, "The Funeral" ("O-soshiki.") This film has been done a great injustice by marketers, who in the hopes of possibly capturing a quick sale labeled it "...A Deadly Comedy." You certainly don't find it in the comedy section of a Japanese video store! The scene on the cover, where a man tries to hike up his trousers while a watching woman mocks him, is one of the saddest in the movie.

It is, in fact, an incredibly insightful exposition of the meaninglessness of tradition and ritual in modern Japan. A family, so far removed from the society that first created these traditions, tries to struggle though an "appropriate" funeral for the deceased father. They rent videos on appropriate greetings and responses, they hire experts to tell them what direction the coffin should face, and how many sticks of incense to light. The ritual has far more importance too the family than the actual loss of the father, as does presenting a proper face.

The elderly, as the vanguard of the traditions, are the only ones who care. In fact, the dead man's daughters are shocked and impressed when one of their father's friends shows actual sorrow at the loss. "That's the way to do it," they say. Money is the symbolism for the loss of tradition, the idol that has replaced emotion at the altar. The Buddhist priest is made a gift of Italian tiles for his garden, and the climax of the film is when a case of money opens up to the wind, and the family grasps at it desperately.

While rough in nature, and clearly a first film, Itami manages to artfully wrap these various elements together, without stating the message directly. In the Japanese style, much is implied and little is said. A particularly capturing moment, is a black and white home movie of the family laughing and having fun, while a sad lament plays in the background. The pace is slow and patient.

The DVD is lacking, and the white subtitles can be almost unreadable. It is presented in pan-and-scan as well, with no change from the VHS version. Unfortunately, "The Funeral" seems to be a much-misunderstood film, and has not been given the release it deserves.

The critique of Japanese culture is honest and authentic, and I highly recomend this film to anyone who wants to see real Japanese people living real Japanese lives. ... Read more

Amazon.com

Who says filmmaking isn't dangerous? Writer-director Juzo Itami (Tampopo) found out the hard way. After the premiere of his 1992 film, Minbo, he was attacked and seriously injured by a knife-wielding yakuza (Japanese mobster).

Given the subject matter of Minbo, it's not surprising. This overly long film (123 minutes) paints an unflattering picture of the intimidation techniques of the Japanese mafia. They bully their way along a thin line that divides civil from criminal offense so they cannot be easily arrested, prosecuted, and jailed. One can only assume that Itami must have gotten pretty close to the truth or he wouldn't have been attacked.

Nobuko Miyamato (Itami's wife) plays minbo specialist Mahiru Inoue, a woman with a very personal reason for hating the yakuza. Tough on the outside but compassionate on the inside, she is employed to help the staff of the Hotel Europa rid themselves of a yakuza infestation so that they can host more respectable guests. It's an uphill battle for the large cast, and the story suffers along the way from Itami's characteristic meandering.

Instead of trying to cover the shortest distance between two points, Itami bounces after too many characters and weakens the impact of the story as a whole. Nobuko Miyamoto's performance is really terrific and she makes up for a lot, but it's too bad there's not more of her and a lot less of Yakuza 101. --Luanne Brown ... Read more

Reviews (6)

A dangerous comedy
Itami touched some serious nerves in Japan, when he filmed "Minbo: The Gentle Art of Japanese Extortion" (Japanese title "Minbo Onna" - "Extortion Woman.") His choice to show the Yakuza as intimidating jerks, rather than the usual portrayal of the stylish, Robin Hood-like last remnants of the Samurai tradition, earned him a famously slashed face and possibly a murder. I admit that its history was the reason I sought the movie out.

In addition to its political bent and rather movie-like repercussions, however, "Minbo" remains an excellent film, showcasing Itami's biting wit and stinging satire of modern Japanese society. The same sharp eye he brought to Japanese family life in "The Funeral" is used to mercilessly let the air out of the yakuza's puffed shirts and throw back the curtain of the Great and Powerful Oz, revealing the scared little men for all to see.

Itami's skillful blend of comedy and drama is on strong display, and characters wax and wane between pathetic, noble, scared and ridiculous. His wife, Nobuko Miyamato is at her most beautiful and powerful in this film. Playing a lawyer who will not bow to the yakuza tactics, she is a lady full in command, it is hard to believe that this is the same scared woman behind the counter in "Tampopo."

Anyone who lives in Japan is familiar with the black trucks and their annoying, relentless loudspeakers, can appreciate the frustration felt by the characters in "Minbo." I for one am glad Itami made this film.

Great movie
What a great movie! I only wish I understood Japanese. I've heard the director was actually stabbed by a Yakuza wanna be who supposedly was taken care of by the real Yakuza.

Great Movie
One of the best movies out there.

How to fight the yakuza and win
OK, here's the film that so burned the yakuza like the hottest piece of tempura that they slashed director Juzo Itami's face. It's also been suggested that Itami didn't commit suicide in 1998 but was actually murdered by the yakuza. With this film, I'm not surprised if they did.

For those unfamiliar with the title term, Minbo is a Japanese acronym for MINji Kainyu BOryoku, or "criminal acts disguised as civil actions." It is a form of extortion that doesn't break criminal laws, and it gives the yakuza a strangehold over institutions too scared and unable to fight them. And the police cannot interfere in civil cases, so that gives the yakuza another advantage. Suzuki, accountant of the Hotel Europa explains that payments to the yakuza are listed as "unaccountables" and not expenses, because the yakuza don't give receipts. He thinks that people should refuse to pay, because paying them "makes the yakuza cockier. The staff pay them off because it's not their money."

Hotel Europa wants to fight them, because the yakuza have descnded upon their hotel like a swarm of locusts, blowing the hotel's chance of hosting the upcoming international summit. The reception manager tells the staff, "We want people of the highest calibre. They must be courageous, skilled negotiators, familiar with the law, quick-minded, tenacious, and decisive. I doubt we employ anyone like that [here]."

Management appoints the aforementioned Suzuki as Chief of Security against the Yakuza, making him a Special Aide To The Manager. However, the milquetoast Suzuki, assisted by go-getter bellboy Wakasugi (also promoted) is given firsthand education against the rough yakuza, who artfully yell at him till he ends up hiding under a table. He learns the hard way that the customers are too scared and keep to themselves rather than incur the yakuza's wrath.

Enter Mahiru Inoue, an attorney who is hired as a specialist and she turns things around as she trains Suzuki and Wakasugi. Don't be scared of the yakuza, don't call the manager, and never fight the yakuza on their home turf are a few lessons she teaches them. Her establishment of a VIP room to deal with the yakuza is a masterful step. Although a consultant, she's more of a nice big sister to her trainees, with a killer smile but with more than enough guts to hang on a barbwire fence.

The yakuza are indeed formidable villains. A boss named Ibagi sets up the hotel restaurant by pulling a variation on the Julie Andrews restaurant trick in Victor/Victoria: "I'm not an expert in Italian cuisine...is this a typical ingredient?" And when they appear to be conciliatory, they are actually setting up the next stage of their plan. A letter of apology written by Suzuki is delivered to the health department as "proof" of the restaurant incident. The thuggish underlings do shouting so intimidating even Sam Kinison would've soiled his pants. Meantime, the boss calms them down and offers the solution, i.e. payment amount. If the victim agrees, they go away happy, but if not, the boss becomes just as belligerent. But the one thing to remember is that the yakuzi act thuggish to the weak, but yield to the strong. And if one is strong, then they'll give.

What also made the yakuza attack Itami was the way they were cariacatured. Despite their tactics, he portrays them as oafs and overacting buffoons. Ridicule them and they seem like a joke.

Nobuko Miyamoto was Itami's wife and starred in all his films. Since his death, she appears to be inactive. Here, she gives the role of a lifetime as Mahiru Inoue. And Takehiro Murata (Wakasugi) would later play Shinoda in Godzilla 2000.

Minbo also gives the viewer a look at the teamwork concept that made Japan so successful. This outstanding film is also about confronting one's fears, finding out about and skillfully negotiating with one's enemies, but also, knowing oneself.

Darkly quirky Japanese comedy
What a great film. Writer/director Juzo Itami takes on the Yakuza, who extort money through both physical intimidation and the threat of public humiliation. Itami himself was stabbed by a member of the uyoku, the Japanese right wing, which is affiliated with the Yakuza, shortly after this film was released. He must have touched a nerve.

In this film, a posh hotel has been targeted by the gangsters. No longer able to support the outflow of cash paid to prevent the criminals from embarrassing the establishment, the management decides to take action. They are completely unprepared for the task. Finally, they turn to a plucky attorney played by the charming Nobuko Miyamoto, who teaches them how to use the law to their advantage. The real delight of this film is watching the various frightened hotelmen transform into an effective anti-extortion force. ... Read more

Amazon.com

In A Taxing Woman's Return, we get a reprise of Nobuko Miyamoto's role as Ryoko Itakura, that indomitable Japanese tax collector who stops at nothing to get her man. In this story she is after the Chief Elder of one of the country's 180,000 registered religions. Onizawa (Rentaro Mikuni) prays for the souls of the sick and the dead with one hand and rakes in billions of yen with the other.

His cult, Heaven's Path, has its fingers in several rice bowls, including a huge land scheme involving political graft. Ryoko is on the case, trying to prove that Onizawa is not paying his fair share of taxes, but she gets herself in trouble by working outside the rules.

Itami's habit of following the lives of several characters shows itself to good advantage in this film. His use of visual symbolism also seems stronger and more accomplished. For example, Onizawa has recurring dreams of a sheer rock wall crumbling down on top of him. This image alone helps us to feel his terror and serves to make him a more sympathetic character even though he does some very unsympathetic things.

Unfortunately, Miyamoto's character seems almost incidental to this story. Itami, as usual, introduces her in the first scene and then forgets about her until the end of Act I. It's the tremendous performance of Rentaro Mikuni and the insightful look into the problem of corruption in Japan that makes this film worth viewing. --Luanne Brown ... Read more

Reviews (2)

one of my favorites
This is one of my favorite movies. Its hilarious and has an amazing amount of creative energy squeezed between its first and last murder victims (not major characters, this isn't a spoiler). It's very different from the first Taxing Woman movie, which I liked but wouldn't rent again. The movie is a beautifully executed exercise in style, with a quirky sound track that keeps the story moving.

There's a lot of ground covered and it took two or three viewings before I could appreciate all the parts of this movie. It's a much bigger story and has much more ooomph than the first movie. It's hard to describe...maybe a Japanese Monty Python's Meaning of Life that's better sewn together and faster moving.

when the sequel isn't the equal
Japanese writer director Juzo Itami's sequel to his 1987 A Taxing Woman again features Nobuko Miyamoto as the title character, only this time she isn't around as much. The charm of the original film, apart from Itami's attempt to present modern Westernised Japan and deliberately despoiling the traditional stereotype, was Miyamoto. A descendant of Giullietta Masina in Fellini's La Strada, her child/woman with freckles and a Louise Brooks bob was both clown and a perfect antidote to the patriarchy of her society, as the sole female Tax Officer in Tokyo's Tax Inspection Bureau. Her relationship with the main villian also allowed her a romantic interest. However, although here she has moments of inspiration - her writhing when pretending to be in cultist's trance, the dance step she takes as she walks down a corridor, and the way she responds to a knife being drawn on her - Itami isn't interested in simply repeating the formula of the original, so we have to endure long periods without Miyamoto.
Itami's point of view this time is more cynical, as opposed to the success of the raid that was the highlight of the first film. Perhaps this might work better for those who haven't seen the first, but as I had, I was awfully disappointed, since none of the business machinations presented here - whether they involve real estate forced evictions or corrupt religious leaders - not even the Bureau's investigations, can match Miyamoto or the original.
Itami brings in a sidekick for Miyamoto but soon abandons him, imitates Grace Kelly being strangled in Hitchcock's Dial M for Murder, and uses the Toshiyuki Honda's music score sparingly. (In the original it aided the long surveillance and raid sequence). ... Read more

Reviews (12)

not bad , quite surprising for non-Japanese ...
hi every1 . I've seen this video within the studies of my varsity . It's nice and introduce the Japanese style of life and most of all their way of dealing with funerals.

To be short I will only say that the most overwhelming thing in the movie was that the mourning family had to use a VIDEO CASSETTE with instructions about how to act in a funeral and what TO SAY !!!!!!

enjoy

Soushiki: not a comedy by any means
At first I was worried when I purchased this film, because my fellow amazon reviews gave it such a low rating, however, I was pleasantly surprised that it was the DVD not the movie itself, that received such low scores. This is a wonderful film, although, for the life of me, I can not figure out why this film is refered to as a "comedy." It is true there are some funny moments when the main character and his wife are learning their lines to address mourning guests and at moments such as when the phone rings during a prayer. What this film's strongest point is, however,a glimpse of Japan while the bubble economy was at it's peak. Even someone just giving a cursory glance at this film ill realize how important money is to the family. It is the chief conversational topic throughout the movie. How much do we have to pay for the coffin? How much are the obento lunchboxes, etc. The power of money can really be seen when the monk arrives in a very stylish car and is given a gift of french tile to make a table for his garden. Funerals are extraordinarily expensive in Japan, so many Japanese do not look at Buddhist monks as a sign of benevolence, but as money lovers. However, although money is a major subject, as is the preocupation of acting a certain way during the funral, the key point of this movie is that although the world might be completely obsessed with money, in death one can bring members of the faily closer together, and in death there is also rebirh, as can be evidenced at the end of this film.

Not what I expected.
This film was nothing like I thought it would be. Having spent four years in Japan I wanted to see for myself what all the controversy was about surrounding 'The Funeral'. Well, I really liked this film, and found it had a lot to offer. From start to finish there is a lot going on at all levels of the emotional spectrum. I found it very touching, a little sad, a little funny, and very human. The quiet love and dignity of the widow and her daughter are the glue that hold the family and friends together. The widows humble expression of thanks to the guests after the funeral, thus releaving the son-in-law of the obligation, is nothing but poetic. I Recommend this film.

Cathartic and Hillarious if...
In order to really appreciate this film, you really have had to been through the experience... for that reason, there are a lot of people who will watch it and not get it.... - - I first saw the film before I really knew very much about Japanese culture... Some elements of the humor were universal... and I still could appreciate the Itami Juzo's dry surrealism... but after seeing the film I came to live in Japan on and off for 9 years and went through the experience, watching the film went beyond "interesting and sometimes funny"... one one had it was incredibly cathartic... on the other hands, uncomfortably hillarious... Its one of those films that if you'd just been through the experience and you watched it, it would definitely serve as a cathartic dose of laughter... - - Too many scenes, unfortunately, parody experiences and rituals (sometimes seemingly senseless, others incomprehensibly complex) that you'd really have to experience to appreciate... If you haven't been through them, those scenes might be a bit boring... for this reason my advice is this : read up on the subject first... and also, watch the film with an understanding that Japanese funerals are very different than Western funerals... The strange scenes in this film in many way present Japanese funerals as they are, and in other ways parody them...

All in all, having been lucky to have gone 9 years without any close personal losses in Japan, but recnetly having lost an important member of our family, I can't tell you how thankful I am that Juzo Itami made this film !

A wry commentary on the loss of meaning in traditions
There are times when death has been appropriate and hilarious material for a comedy. The juxtaposition of the seriousness of a funeral with wacky hijinks and hootenannies makes for funny stuff. But don't expect to find any of that in Itami's social commentary, "The Funeral" ("O-soshiki.") This film has been done a great injustice by marketers, who in the hopes of possibly capturing a quick sale labeled it "...A Deadly Comedy." You certainly don't find it in the comedy section of a Japanese video store! The scene on the cover, where a man tries to hike up his trousers while a watching woman mocks him, is one of the saddest in the movie.

It is, in fact, an incredibly insightful exposition of the meaninglessness of tradition and ritual in modern Japan. A family, so far removed from the society that first created these traditions, tries to struggle though an "appropriate" funeral for the deceased father. They rent videos on appropriate greetings and responses, they hire experts to tell them what direction the coffin should face, and how many sticks of incense to light. The ritual has far more importance too the family than the actual loss of the father, as does presenting a proper face.

The elderly, as the vanguard of the traditions, are the only ones who care. In fact, the dead man's daughters are shocked and impressed when one of their father's friends shows actual sorrow at the loss. "That's the way to do it," they say. Money is the symbolism for the loss of tradition, the idol that has replaced emotion at the altar. The Buddhist priest is made a gift of Italian tiles for his garden, and the climax of the film is when a case of money opens up to the wind, and the family grasps at it desperately.

While rough in nature, and clearly a first film, Itami manages to artfully wrap these various elements together, without stating the message directly. In the Japanese style, much is implied and little is said. A particularly capturing moment, is a black and white home movie of the family laughing and having fun, while a sad lament plays in the background. The pace is slow and patient.

The DVD is lacking, and the white subtitles can be almost unreadable. It is presented in pan-and-scan as well, with no change from the VHS version. Unfortunately, "The Funeral" seems to be a much-misunderstood film, and has not been given the release it deserves.

The critique of Japanese culture is honest and authentic, and I highly recomend this film to anyone who wants to see real Japanese people living real Japanese lives. ... Read more