[Originally published in Movietone News 33, July 1974]
The very title is evocative of Yasujiro Ozu’s style, interests, and attitude: in the simple but scarcely negligible pleasure of a most ordinary dish, the unpretentious character and self-integrity of the protagonist is defined, and by the end of the film his hifalutin spouse has come not only to accept but also to value him for that quality—and even to share, albeit timorously, his satisfaction in slurping audibly as he consumes the rice in the privacy of a late-night snack at home. The Flavor of Green Tea over Rice enjoyed its local premiere one recent summer afternoon thanks to a cultural studies program in the University of Washington’s Far East Department.
Japanese director Keisuke Kinoshita made 50 films in a 50-year career, including Twenty-Four Eyes (1954) and the original The Ballad of Narayama (1958), both of which Criterion has released on disc. Kinoshita and World War II (Eclipse, DVD) presents his first five films and offers a rare glimpse into the propaganda films made in Japan during World War II.
After a long apprenticeship at Shochiku (and a brief stint in the army), Kinoshita made his directorial debut in 1943, well into World War II, when the filmmaking industry was enlisted in the war effort to produce patriotic movies. Where directors like Ozu and Kurosawa managed to skirt the excesses of nationalistic propaganda (the respected veteran Ozu through films about family values and responsibility, the newcomer Kurosawa through period pieces), Kinoshita applied with humanistic sensibility to rousing calls for patriotic action.
In any other era the deft little Port of Flowers (1943), a light-fingered comedy about two con-men who try to bilk money from the inhabitants of a small island with shares of a phony shipyard, could have come off as a Capra-esque comedy of a guileless small town community winning over the corrupt big city crooks with their idealism and generosity (and a little help from a twist of fate). Here, that twist is the declaration of war, which ignites the patriotic responsibility of the shysters and shames them into supporting the war effort. Apart from the propaganda, it is a light, amiable little film with a warm sense of community and purpose, but the message becomes more insistent in The Living Magoroku (1943), which takes on the need for agricultural production, and Jubilation Street (1944), which follows the inhabitants of a Tokyo street forced to relocate for the war effort.