If you just look at the skeleton of this movie, it seems to be a mixture of two Japanese films: 1) Junko's Japanese inspirational style; 2) In the happy yellow handkerchief, a few silly old men circle around a beautiful woman.
If you look at the meat hanging on the bones, it looks like pork belly. 1) The Japanese people's advocacy of law back then is really comparable to the current situation of Chinese petty bourgeoisie. 2) The Japanese people's promotion of roast duck as a local specialty is a bit ridiculous. 3) The Japanese people actually ate all parts. 4) The Japanese people in those days actually renovated the originally good traditional restaurant into a modern style with no special features, and dressed up the pretty beautiful proprietress as a Western-style chef. It's really heartbreaking.
Look at the noodles again, the plot of the movie, turning in the song, intermittently, trembling, steaming. The main line is really clear. There are a lot of twists outside the main line. If you say that there is no departure, it is not a no departure. If there is a departure, it is not clear that the head is there.
Looking at the interspersed seemingly insignificant small materials, it should be the part that gave the film's spirit, energy and fragrance. They show side by side the relationship between eating and beauty, eating and enjoying, eating and sex, eating and family, eating and good, eating and evil, eating and naughty, eating and living, and eating and death. Make you cry suddenly, laugh suddenly, suddenly helpless. Suddenly surprised.
Looking at that bowl of soup again, it seems that the love and love between the two protagonists cannot boil the soup or swallow it warmly. It is not muddy, but it is nutritious. When the other delicacies in the bowl are eaten, the soup is also drunk. And advance.
The soup really drank to his heart's content, but the bowl was empty with emotion. A masterpiece, a bowl of ramen that looks strange.
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