movies

Julie and Julia: An overly long and very late review

maki — Sat, 12 Sep 2009 13:42:42 +0200

Last night I finally got to see Julie and Julia, the much-talked-about movie based on the books Julia and Julia: My Year of Cooking Dangerously and My Life In France. Julia and Julia is a blog-turned-into-book that recounts how Julie Powell, an office cubicle worker who hates her job and is having an identity crisis, cooks her way through Julia Child’s first masterpiece Mastering The Art Of French Cooking (Volume 1) as a project to bring meaning to her life. My Life In France is the autobiography of Julia Child, a legendary American cookbook author and TV chef. I thought I would put in both descriptions here, since contrary to what American may think, Julia Child is not universally known. In fact, as Anna Picard wrote on The Guardian’s World of Mouth blog, internet savvy non-USens are more likely to know about Julie Powell, Famous Blogger Who Became Bestselling Author, rather than Julia Child, an odd-looking woman who had some cooking gig on the telly years ago.

I pondered these things as made our way to a movie theater in Lyon, France, for a pre-premiere, or sneak preview (the movie officially opens here in France on the 16th). Julia Child may be credited with introducing fine French cooking techniques to American housewives, but she is not a household name in the country that inspired her by any means, even if she did receive a Legion d’Honneur from the French government. I was even wondering if anyone else besides us would be there for the show. As it happens, the theatre (one of the smaller ones at the multiplex) was about 80% full, and as far as I could eavesdrop on, mostly by French people, not expats like me.

Perhaps because I viewed the movie in a place where Julia Child is not a culinary diety and pop-culture icon, I was able to watch the movie in a different way I think than most Americans. I think that this really is a movie about Julie, not Julia. The Julia parts are there to enlighten us about this legendary Julia figure, and why someone would give up a year of her life, more or less, to immersing herself in the Cult of Julia. Parallels are drawn between the lives of the two women, to be sure, but I think they are there to give weight and credence to Julie’s experience.

Like most people who have written about this movie, I did yearn for more Julia, a whole movie about Julia. The scenes of France and Paris in the late ’40s onwards are gorgeous, and the acting of Meryl Streep, Stanley Tucci, and everyone else in the Julia segments are just wonderful. I wonder if there is enough footage there to cobble together an only-Julia Director’s Cut version (I doubt it, but it would be nice). But that’s another movie entirely. In this movie, Julia is perfect because she’s a mythical figure. She’s the Julia that Julie worships and idolizes, and the Julia that is actually a reality in Julie’s world, the one who tells a reporter that she dislikes whatever it is that Julie is doing (though it’s not specified in the movie or in reports about the real-life incident exactly what she objected to) is not really the same person.

Compared to the perfect Julia, Julie is going to come off worse by default. How can a depressed almost-30something woman stuck in a boring job, living somewhere she can’t stand, compete with a woman who seems to be on an extended honeymoon in a dreamlike city? More to the point, she’s just a blogger. If you have been blogging for any length of time, you may know by now that the world at large, the part that only use the internets for email and looking at cute cat pictures, not to mention more than a few “professional” journalists and writers, tend to sneer at bloggers. They regard them - us - as self-centered twits who gaze too intently at our navels, then have the nerve to expose our navel lint to the general public. Amy Adams made her about as appealing as possible probably, but she had an impossible task to begin with.

Nevertheless, Julie is the one who most people are closer to in reality. We can dream about and aspire to becoming like Julia. But when we blog, in some way we are being Julie; using our writing to express ourselves, as an outlet for our thoughts or our stunted creativity, to find an audience out there who just might appreciate us. There are thousands, if not millions, of Julies out there. I’m one of them.

When I started Just Hungry in late 2003, I was at a pretty low point mentally. I had recently finished writing a book about web tech things, which ended up being something very different from what I set it out to be. I had a personal blog already, but somehow could not get myself out of the rut of writing about web-design this or CSS-that. Not that there is anything wrong with those subjects, but I felt like writing for my blog was like taking a busman’s holiday - I could never get away from the day job. So I started a little blog about one of my lifelong obsessions, food. My blog did not grow as fast as it should have perhaps - I was very unfocused, and I even stopped blogging for no good reason during 2004. And my writing at the start was pretty blah. (Derail: I got a chuckle out of this post on Tigers and Strawberries that I stumbled on when I was looking up links for this article. Apparently, my blog “iwasjustreallyveryhungry.com” (which was never the actual URL, though my blog’s name used to be I Was Just Really Very Hungry) was dissed by a food anthology editor way back then.) Still, it brought a different kind of focus to my life.

I almost clapped my hands at the little things in the movie that only a blogger could appreciate - when Julie gets her first comment; when her husband tells her she has the no. 3 blog on Salon.com. (I never got hot sauce in the mail from a reader though. That part is sort of zeitgeist I guess. If it really happened, it was ok in 2003 perhaps, but 2009, I think we are wary of random strangers knowing our real addresses, let alone sending us food in the mail!) I’ve had those little “You Like Me, You Really Like Me!” moments too - when Just Hungry was a Featured Blog on Typepad, its original home; when I got my first email from a mainstream media reporter asking for an interview; when I got a heartfelt email from someone saying how my bento recipes were being used as inspiration by a group of women with eating disorders, to get them back into eating small portions of real food. Being quoted several times over in a feature article in the New York Times this week was another highlight. And if getting a book contract is supposed to be the measure of a blogger’s success, I have one actually, and am in the throes of working frantically on the first draft. (Details to come.)

I can also relate very well to the struggle of trying to cook in an inadequate kitchen. I’ve been doing that for most of this year, as we move around from holiday home to holiday home, waiting for the Final Word to come on whether we can purchase the house we want or not. (I’ve been technically homeless since March. It’s really getting old.) The desire to cook something delicious that uplifts the soul and fills the belly can overcome a tiny two-burner stove that slopes towards the center so that you can only cook in a pan straddling the two burners, and the limitations of a kitchen sink placed at such an odd angle that you bang your head on a hard corner cupboard every time you try to rinse some vegetables.

So despite her foibles and the comparative smallness of her vision, I loved the Julie parts as much as I loved the larger-than-life portrayal of the larger-than-life Julia Child.

One other thing: I think that this is a movie about writing, as much as it is about food. It’s about the power of writing to inspire and change lives. Julia’s life is transformed first by falling in love with French food, but it’s really changed by her book. Julie’s life is changed mostly by her blog, and her book - the cooking thing was mostly a hook to hang her writer’s hat onto.

In any case, I think that Julie and Julia is a wonderful movie, that should be appreciated on its own merit, rather than trying to twist it into something that it is not.

Notes

Julia Child. I didn’t want to interject my own feelings about the real-life people involved in the movie in the above review. I really wanted to see the characters just as they are portrayed in the movie, and I think I succeeded. I do happen to love the real Julia Child - she’s one of my major inspirations, and she wrote my favorite English-language cookbook of all time. I have My Life In France in three formats - as a hardcover, as an audiobook, and as an ebook. I re-read it all the time. If you have not read it yet, please, go and get it!
Julie Powell. On the other hand, I was never a fan of Julie Powell the blogger and writer. I read her blog quite some time after she stopped updating it - as a matter of fact, I only found it when Julia Child passed away. I was looking around to see what other people’s reactions were, and I found her heartfelt post about it. I then started going back through her Julie/Julia blog, but stopped after a few entries - it was just so, I don’t know, messy. Maybe I shouldn’t have - maybe her writing improved too with practice, as I like to think mine has. But anyway, for this reason I was very surprised by how much I liked the Julie in the movie, and I am tempted to buy the book after all.

What’s holding me back is the real Julie Powell’s annoying post-movie comments that have appeared all over the place about how the movie Julie is different from her, please don’t hate her because of that Julie, et al. Ugh, please shut up about that. Also, I can’t get away from the niggling feeling that any theme would have done as a hook to get herself a writing project. It could have been ‘build 365 Lego projects in a year’ or ‘knit 52 hats in a year’ or something. For Julie Powell I really think it was the writing first, food/cooking second. Which may explain why she doesn’t seem to think of herself as a food blogger and distances herself from food bloggers, unless it’s convenient for her to do otherwise. But as she likes to repeat, the movie Julie is not the same as the real-life Julie Powell, and I do like the movie Julie a lot.
Nora Ephron. The director Nora Ephron used to be a writer/journalist (interestingly she lists her books before her movies in her Huffington Post bio). She has written a lot about food - for example Scribble Scribble (out of print but you can find it used), which is a collection of essays she wrote for Esquire Magazine about the media, she has a very funny critique of Bon Appetit magazine, and ends another essay about the New York Post with her recipe for borscht, which is really quite good. And her autobiographical novel Heartburn (which was turned into a movie starring - Meryl Streep!) is peppered with some great comfort food recipes. I try to avoid reading it when I’m hungry, otherwise before I know it I’m in the kitchen toasting some almonds in butter or whipping up a bowl of mashed potatoes or something. So this script really was a good fit for her, and I think it shows - it’s the best movie she’s made in my opinion, right up there with When Harry Met Sally.
Julia Child’s impact on American women. The best account I’ve read of the huge impact Julia Child and Mastering The Art Of French Cooking had on a generation of American women, appears in a wonderful book called Feast Here Awhile by Jo Brans, who is listed on the dust jacket as a journalist and writer. It’s out of print, but you can get it used for a bargain price. If you’re interested in what impact certain chefs, cookbooks and so on had on American society from the late ’50s up to the early ’90s, this is a must read. I wish there were more books like this out there. What would be cool is if the writers of Mad Men managed to get a reference to Mastering in there somewhere - maybe have Betty Draper discover an outlet for her ongoing frustration? Well, maybe not…she may gain weight or something.
Julia and France. In the movie, Julia is portrayed as being enamored of Paris, and only Paris, when it comes to France. But in the book she fell in love with Marseille and adored the food of Provence. Later in her life she and Paul built a house called La Pitchoune in Provence, on land owned by Simone (Simca) Beck, where they and many of their friends (among them James Beard) spent a lot of time. (The house is now a cooking school for well-heeled tourists.) I guess this dissing of Marseille was done for the sake of expediency, but it reinforced, yet again, that notion held by so many Americans and others that Paris=France=Paris and there’s nothing else. (OK, a lot of Parisiens think like that too.) As someone who has fallen in love with this corner of France, it does grate on me. But hey, there are enough tourists here from the Netherlands and Belgium and Germany and the UK here in the summer so, maybe it’s a good thing there aren’t more Americans! Also note that she falls in love for the first time with French cooking at the restaurant La Couronne in Rouen, in Normandy, not in Paris. (On the other hand, Julia really did hate Bonn it seems…) Anyway, if you wonder whether really friendly market vendors like those that Julia interacted with still exist in France, yes they do - in the provinces mostly, but even in Paris - but you need to become a regular, and speaking a bit of French and above all, being friendly yourself does help. (My mother does not speak a word of French but manages to charm market vendors everywhere by her sheer enthusiasm.)
Queens. Just in case you get the impression that the NYC borough of Queens is a food desert, Robyn will disabuse you of such nonsense. I lived for a year in Flushing, and while I hated my apartment and the long commute to work, I loved the neighborhood for its wide variety of delicious food.
Watching Julie and Julia with a French audience. It was a lot of fun. They laughed heartily at Julia, and gasped audibly at the gorgeous food porn, starting with that sole meunière in Rouen. They laughed the loudest when Meryl Streep/Julia uttered a throwaway phrase or word in French.
Sole meunière in the movies, again. Sole meunière also features prominently in the movie that is still my favorite food-theme movie, Tampopo.
Other interesting food personalities to make movies about. Perhaps another Julia Child movie will not be made soon, but how about James Beard, M.F.K. Fisher, Escoffier, Elizabeth David (ok a TV movie of sorts was made about her)? All larger than life fascinating characters. An M.F.K. Fisher movie could be really interesting - that lady had a very complicated life, to say the least. And she was beautiful too.
Bloggers liking Julie. Finally, a couple of prominent non-food bloggers had a similar take on the Julie part of Julie and Julia: Matt Haughey, who relates his early experiences with Metafilter, and Tom and Lorenzo of the site formerly known as Project Rungay.

Mayo, shiso and tiny little fish sandwich

maki — Wed, 09 Apr 2008 21:13:48 +0200

Browsing around YouTube instead of working, as you do, today I found this little gem. It’s a commercial for Ajinomoto Mayonnaise, by Juzo Itami, the late, great director of the best food movie ever, Tampopo:

The actor (not sure if it’s Itami himself) is talking on the phone to a friend, when he gets hungry. Still remaining on the phone (and inexplicably on his back), he scoots over to the kitchen to get white bread, mayo and chirimenjako, little semi-dried fish. He tops it off with a fresh shiso leaf, and is in heaven. The dialogue is just like the dense, obsessive dialogue in Tampopo. I’ll have to give that sandwich a try one day…it is odd enough that it has to appeal only to a really curious food person.

(The second commercial is cute yet odd, like many of the best Japanese commercials.)

A belated review of Ratatouille

maki — Thu, 02 Aug 2007 12:05:34 +0200

Yesterday, we finally got to see Ratatouille (the movie that is, not the dish), when it opened in western or French-speaking Switzerland. The movie theater in Lausanne was only sparsely filled, though since the weather was so glorious, and it was Swiss National Day (sort of like Independence Day in the U.S. in terms of the way in which people celebrate it, with barbeques and fireworks) I guess that was sort of understandable. Anyway, my review, with many spoilers, follows after the jump.

I’ve been a big Pixar fan ever since I saw the Luxor Jr. short many years ago. I have all of their movies on DVD. Despite the fact that Ratatouille combines three of my favorite things - Pixar, France, and the love of food - I don’t think it’s a perfect movie by any means - and, dare I say, not quite Pixar’s best either. (I happen to think that Toy Story 2 is their best.) That’s not to say I didn’t love it - I did, absolutely.

Like most other food lovers who’ve reviewed this movie, I adored the details - the burn marks on the chef’s arms, the logical and realistic layout of the kitchen at Gusteau’s, the explanation of mis en place by Colette. I loved the passion of Remy, who is, despite his ratness, a true artist. The animation and the artistry is, as with all Pixar movies, unsurpassed - it could be their best in that respect ever. (Whenever there was a scene with a swarm of rats, I couldn’t help cringing.)

I think what keeps the movie from being a real masterpiece is the weakness of some of the characters, especially Linguini. He rather reminds me of a typical Disney prince, in that he’s a non-character. Sure, he can’t cook, but it’s not really explained to my satisfaction anyway why he would endure having a rat pulling on his hair for so long - sure he wants to keep the job, but… I just found him to be quite unsatisfactory somehow.

I also wanted just a bit more about Skinner. What made him such a bitter, mean and small (not just in stature, but in thought and deed) man. Did being a sous chef to a chef with so many accolates ruin him? Was he destined never to be great himself, which is why he’s so bitter and out to destroy his former boss’s reputation? Is he Salieri to Gusteau’s Mozart? I know there’s a length limit to any movie, but I just wanted a little bit more there.

Speaking of sous-chefs…I thought that Colette, who by the end of the movie is effectively Remy’s sous chef in their new restaurants, was somewhat underwritten too. It did seem that she was destined to be a sous chef rather than the chief, the artist - she can recreate recipes flawlessly, but she can’t seem to create her own. This is rather interesting in light of what happened to Skinner. I suppose this was done to enhance the stature of Remy as the one, great artist in the piece.

Another bit of nitpicking I have, which I know is really esoteric, is the way in which the actual cooking/creative process of Remy is demonstrated, especially with the infamous soup. It plays up the cliché image of French cooking: add this, that and the other ingredient, more and more of them, until you end up with something delicious. I rather think that this just goes against all that is modern about cooking, and is certainly not the way the best chefs in French cook now. But I know, we are talking about an animated movie here…

There is one moment that really does raise Ratatouille to great heights: when Ego tastes Remy’s ratatouille, and is instantly transported back to a happy moment in his childhood. That moment of pure joy, of transcendence, is what great food can bring - and those few seconds captured that rapturous feeling so perfectly.

(A note for anyone in Switzerland: I’d thought that Ratatouille opening was delayed in the German speaking part until October because of subtitling problems. Well that doesn’t seem to be the case since the movie did have German and French subs! I’ll never understand the distribution system of movies in Switzerland where a part of the country gets a movie months before another…it’s so illogical. More thoughts about this on my personal blog.

We also thought about going to see it in France because we thought it would be fun to see it with a French audience, but we couldn’t find any theater within reasonable daytripping distance showing it in non-dubbed form. Boo to dubbed movies. At least here in Switzerland there are many theaters showing movies in the original language, as opposed to Germany and France where they tend to dub everything.)

Onigiri in the movies: Kamome Diner (Seagull Diner) and Supermarket Woman

maki — Wed, 21 Mar 2007 14:37:22 +0100

Whenever I am feeling blue, one of the foods that I crave is onigiri. You could just chalk that up to the fact that it’s mostly rice = carbs and I’m just craving a carb fix. But it really goes beyond that. It’s tied to memories of my aunts making row upon row of perfectly shaped onigiri for a family gathering, and the salty tinge on my lips from the giant onigiri my mother made for me for a school outing.

Two of the most popular articles here on Just Hungry are the ones about onigiri. It’s great to see so many people from around the world enjoying this quintessential Japanese comfort food.

There are two very interesting Japanese movies where onigiri play a starring role, in quite different ways; Kamome Diner (Kamome Shokudoh) and Supermarket Woman (Suupaa no Onna). Although neither seems to be available on DVD in English speaking countries yet, I thought I’d talk about them a bit.

Suupaa no Onna: Anatomy of a Japanese grocery store

The first is a comedy from 1996, Suupaa no Onna (Supermarket Woman). It’s directed by Juzo Itami, better known as the director of the ‘noodle Western’ classic Tampopo, and as with most of his movies stars his wife, Nobuko Miyamoto. Miyamoto plays Hanako, a 40-something widowed woman who wanders into a run down small suupaa, a local supermarket, which happens to be run by her childhood friend Goro, a widower played by Masahiko Tsugawa. The suupaa is called Sho-jiki Ya, (“Honest Goro” in the English subtitles). Sho-jiki ya is teetering in the edge of failure because a brash competitor called Yasuuri Daimaoh (“Bargains Galore” in the subtitles). Hanako, who keeps insisting she’s “just a housewife with a housewife’s wisdom”, is a supermarket expert with a sharp eye and strong opinions about how a supermarket should be run. In short order she’s hired by Goro, first as the head cashier, then as the assistant manager of Sho-jiki Ya. Together with Goro, she must fight the corrupt figures behind Yasuuri Daimaoh to prevent Sho-jikiya from going under.

One of the store sections that Hanako attempts to improve is the osouzai deparment. Osouzai means ready-made meal items, and busy people in Japan rely on these to round out or even make up a whole meal. A popular osouzai product is of course, onigiri. Hanako discovers that the onigir sold at Shoujiki-ya are under-par, using inferior fillings, and convinces everyone involved that that is just not right. At first the onigiri supplier is reluctant to spend more to improve the onigiri, but once he sees how happy the better tasting onigiri makes the housewife-taste testers, he is overcome by the joy of making his customers happy.

Suupaa no Onna is part of the “Fighting Women” series of movies that Juzo Itami made in the ’80s and ’90s, such as Marusa no Onna (A Taxing Woman) and Minbo no Onna (known among other titles as The Anti-Extortion Woman). Like those movies, the general theme is that of the fiesty, honest heroine who has the courage to stand up against a corrupt establishment. While the other titles in the series have been released on DVD in the U.S. and elsewhere, Suupaa no… never really made it outside of Japan. It’s a shame, since it’s a lot of fun even if it didn’t feature food as a main character. [Update:] It’s now available in the U.S. on Amazon.com! Yay! For food lovers, it’s a fascinating if broad (and now somewhat outdated) view of Japanese grocery shopping, from the store’s point of view and the buyer’s point of view - the buyers in this case being the all-mighty, no-nonsense Japanese housewife. It may not be as profound as Tampopo or have as much universal appeal, but for anyone interested in Japanese culture or food or even supermarkets, I highly recommend it. (See notes at the end for some more.)

Kamome Shokudoh: Japanese soul food in Helsinki

Made 10 years after Suupaa no Onna in 2006, Kamome Shokudo (Kamome Diner, or Seagull Diner) a very different movie. It’s the story of a woman called Sachie, played by Hairi Katagiri, who opens a small Japanese restaurant/cafe in Helsinki, Finland. At first people just look curiously in the windows, but don’t go in. Then one day a young Japan otaku teenager wanders in…

For Sachie, onigiri are “Japanese soul food”. She is convinced that she can make Finnish people love her Japanese soul food, because she reasons that “a country with such a sense of humor and a relaxed view of life must appreciate good food”. At one point, worried about the lack of customers, she and another Japanese woman who somehow wanders into the restaurant and ends up staying on as a waitress test out some alternative fillings that they think may appeal more to Finnish people, like reindeer meat, crayfish and pickled herring. The taste tests fail though, and Sachie reaffirms her conviction that the “traditional fillings” of ume, shake, okaka (umeboshi, salted salmon, bonito flakes moistened with soy sauce), are the best. While the subject of alternative fillings for onigiri does crop up from time to time, I have to say I tend to agree with Sachie here! Sachie’s goal is to for her Finnish customers to appreciate real Japanese soul food.

Kamome Shokudoh is a gentle, rather fairytale-like movie, with touches of magical realism. Nothing much really happens, but the main characters still go through some profound changes. I don’t want to give away too many plot details since there are so few really. A lot of people won’t enjoy it for that reason. I loved it however. It’s not as obvious a look at Japanese culture as Suupaa no Onna is, but it does show a certain very Japanese view of life. It also has lots of great shots of typical Japanese homestyle dishes, and the Scandinavian interiors are gorgeous.

Notes about Suupaa no Onna

Goro and Hanako are used as generic names for girls and boys, sort of like Jack and Jill or Dick and Jane in English.
Tampopo fans may remember Masahiko Tsugawa, who plays Goro, as the convenience store manager who has a frantic cat-and-mouse chase around his store with the old lady who likes to squeeze the produce.)
The direct translation of Sho-jiki Ya is Honest Store. Yasuuri Daimaoh is Bargain Devil (a Daimaoh is a sort of spirit, that can be but isn’t always evil).
Great news! Supermarket Woman is now available in the U.S. on Amazon.com!

Notes about Kamome Shokudoh

Why does Sachie, not to mention the other Japanese women in the movie, end up in Finland? Why does the story even take place in Finland? The answer in a nutshell is Moomin. Moomin is tremendously popular in Japan; Moomin books are perpetual bestsellers, and many a young girl daydreams about ‘going to Moomin land’. By extension, Finland, the land of Moomin, is seen in quite a romantic light. Now since I haven’t read Moomin since…ah, I’m actually not sure if I ever read Moomin…I can’t say I understand the appeal but there it is. (Moomin fandom in Japan is oddly similar to Anne of Green Gables fandom.)
This movie was released in Finland under the title Ruokala Lokki. (It could be available in Finland on DVD, but since I don’t read any Finnish I can’t find out.)
This one is also only available as a Japanese release. It does have English subs. (I’ve seen cheap versions on eBay but I’m skeptical about the legality of those.) Amazon Japan link.