By Owen Glancy Interim Arts & Features Editor Even by the standards of what’s typically recommended in this column, “Tampopo” is a bizarre film that was released in one of the most prosperous periods of Japanese history. The bombing of Hiroshima and Nagasaki was one of the most horribly tragic events in world history, so it should be no surprise that the ramifications of such an event would be felt in Japan for decades. All throughout the ’50s and ’60s the Land of the Rising Sun would continue to feel the impact of nuclear devastation in all facets of their lives, but especially in film. From national tragedy, to losing the biggest war in human history, to being occupied by U.S. forces that heavily censored all media being released at the time, the Japanese people were desperate for any form of escapism, something that film was ready to supply. Directors like Akira Kurosawa, Yasujiro Ozu, Kaneto Shindo, Kenji Mizoguchi, and Seijun Suzuki would become not just household names in Japan, but award-winning international artists who would keep the spirit of Japan alive in a time where almost all forms of patriotism were nearly stifled out. After nearly three decades of such consistently phenomenal filmmaking, the world thought they understood Japanese cinema. However, when “Tampopo” directed by Juzo Itami was released in 1985, it shocked the film world. Coined as a “ramen western,” “Tampopo” tells the story of two truck drivers who stop at a local ramen joint and are convinced by the establishment’s owner, the titular Tampopo, to help make her rundown little restaurant into the premier spot for ramen in Tokyo. Truthfully, this is not the most exciting premise for the majority of audiences. On paper, it could even be interpreted as boring, but you would be greatly mistaken. To give just one example of the absolute insanity that goes on in this film, there is a scene where a man kills a real turtle on film, cooks it, and serves it to our main cast. Yes you read that right, a real, live turtle. “Tampopo” doesn’t just embrace its stranger aspects, it’s defined by them. What starts as a fairly simple ramen-flavored master/mentor love story quickly transforms into a celebration of not just ramen and the western genre, but of food and the very act of eating itself. Such a small act is often taken for granted. How much do you really think about what you had for breakfast after you’ve eaten it? Even if a meal was truly excellent, you rarely ever think about it for much longer than a week unless it’s brought up by someone else. However, to the characters in this film, eating and the etiquette surrounding food in general is something to be constantly celebrated. The film presents so many different ways to appreciate food that it’s almost mind boggling. From a group of upper-class students learning how to embrace the messier aspects of eating, to a couple whose love of food becomes inextricably intertwined with their erotic escapades, the film presents the audience with so many varying perspectives on food that it’s a little overwhelming. “Tampopo” is, like nearly every film, very much a product of its time. Its grand scale, celebration of gluttony, and overt optimism was reflective of Japan at the time, which had been going through an economic boom akin to the Roaring ’20s in America. In this way, it’s a time capsule into a time in Japanese history where they were on the top of the world, where the nuclear terrors of WWII seemed so far away. Itami’s heartfelt masterpiece is one that may seem intimidating when looking at it from the outside. It’s an undoubtedly arthouse film that while it can be enjoyed by anyone, will be truly loved by few. It’s a film that explores a topic so broad and universal that its deeper messages and characters can occasionally get lost in the cacophony of chaos the film thrives in. However, for those who are willing to give into that chaos, they’ll find one of the most genuine and creative films ever made.