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Tampopo Review:
A gleeful thumb in the eye of Japan's money-mad 1980s culture, Juzo Itami's masterpiece subverts all that is right and proper with food and sex. Dubbed the first "noodle western," the film concerns a craggy-faced Shane-like stranger (he drives a semi instead of a horse) who aids a young widow named Tampopo as she struggles to make the best bowl of ramen noodles in town. On one level, the film works as an odd metaphor for Japan's newfound affluence, built on avid borrowings from other cultures. Each of the figures who gathers around to help Tampopo has a distinct national signifier: the belligerent, often drunk Piskin (not a common Japanese name) evokes Russia, the itinerant Noodle Master who sports a beret and speaks wistfully about French cuisine indicates France, and, of course, the cowboy hat-sporting Goro recalls the United States. Yet the film's loose structure, organized around seemingly unrelated vignettes, gives it a wider cultural resonance. From the scene in which the Man in the White Suit and his moll perform an unnatural act with raw egg to the corporate neophyte who upstages his boss with his expert knowledge of gourmet cuisine to the old woman who molests fruit in a grocery store, everyone in Tampopo is obsessed with food and uses it to stage their own quiet, often perverse protests against Japan's rigid hierarchical society. Like films from the French New Wave, Tampopo is a dizzying, kaleidoscopic inside joke. Itami includes references from the aforementioned Shane (1953) to Breathless (1960) to the later works of Luis Buñuel and Luchino Visconti's Death in Venice (1971) (complete with a soundtrack drawn from Gustav Mahler's First and Third Symphonies). Tampopo is a wildly inventive, fantastically entertaining movie by a film master at the peak of his powers. Jonathan Crow, All Movie Guide