This review may contain spoilers
Basically, Every Day A Good Day is about finding the fire which ignites the spark within consequently giving life meaning. Noriko, the main female character, always fondly mentions La Strada, one of Federico Fellini's most celebrated films and it's not difficult to figure out why. Just as the character/s in the aforesaid award-winning Italian film, she likewise sees herself as a drifter searching for a real purpose in life. Attending a Japanese tea ceremony on a singular occasion as a guest is perhaps one of the most wonderful things I've ever experienced. I hope to experience it once more, and I hope you'll get to experience it as well. In the initial scenes, we witness Mrs. Takeda, the tea sensei, admonishing Noriko (and Michiko) for analysing every step in the Way of Tea. This is because analysis runs contrary to the precepts of Zen Buddhism which holds primacy over the path of action in conjunction with meditation in performing a task or learning a skill because only in this way can harmony with nature and innate tranquilitea be achieved.
''In the practice of tea, a sanctuary is created where one can take solace in the tranquility of spirit.''
I highly recommend a book called Chado (The Japanese Way of Tea) most esp. if you're an enthusiast of tea and/or if you're on the path towards serenity.
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This review may contain spoilers
Beginner’s Guide to Japanese Tea Ceremony (aka The Omotesenke way of tea)
This was not a movie with much of a plot or things happening, except for one major incidence near the end. Still, one did not watch this movie for such mundane things as a storyline.The moments leading up to, and scenes of the practice of preparing a bowl of tea (Matcha, in this context) were the sum and whole of the story.
A story about a young woman adrift in the world, looking for her purpose in life.
This movie was not about her finding her meaning in life, but about how her constant companion, the practice of Sado, gave her important lessons about living life, in the moment, one whisk of tea at a time,
True to its title, it was a visual meditation on some Zen Buddhist philosophy as practiced within the framework of Sado ( 茶道, Way of Tea Ceremony), specifically the practice founded by Sen Rikyu a few hundred years ago. This movie perhaps more accurately depicted the teachings, style and aesthetics of the Omotesenke School (as evidenced by the wooden plaque at the gate of the Sensei’s house).
If one is a tea and pottery - or the Wabi Sabi aesthetic - enthusiast, this movie will be a feast for the eyes, heart and mind. Each frame and scene was beautifully captured to immerse one in the rusticity and simplicity of the Sado and Wabi aesthetics of a tea room. And through the glass bottom half of the sliding door, one was ensured arresting glimpses of an exquisite Japanese garden which emphasized the flow of, and the beauty of the changing seasons.
(I was also gawking at the beauty of the tea utensils throughout).
A comforting, slow and wonderfully calming movie with lovely performances.
If one is in the right frame of mind to be imparted some nuggets of wisdom about how to make “everyday a good day”, this would be a good movie.
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I do appreciate it when a film does not rely on emotional manipulation techniques to transmit a heartfelt stimulation. The emotions provoked are more genuine and authentic, rather than forced and assaulting. I do despise it when a film forces a melodrama only for the sake of breaking a heart, without having your soul or innermost being be moved.
This film is like the former for me. It didn't break neither moved my heart, but it really spoke to me: quiet, delicate, but so profound. This was a walking still life: food, nature, almost rugged, yet, so mellow. You might shed a tear or two not because you felt emotional nor understood, but because you can somehow learn a simple thing about life. It is not about being understood, but acquiring some understanding that evokes the greatest humanity inside of us.
Instead of the film displaying a hyperbole of feelings, the rhythm of rain weighed heavier as it climaxed. The wraiths of wisdom wrung by the waterfall—don't read the characters (letters); see them as pictures. The rottenness and fruitfulness of her romances were portrayed rather vaguely. We have never seen the facade of her lovers neither the redness of a relationship, but we have witnessed the unaffected train leaving her in her sombre solitude; the heat of the sun callously flooding her room in the depth of her depression; and the warmth of the sun finally embracing the entirety of her cheek as she walked with her newfound love.
Science says that water possesses negative ions that enhance mental and emotional health. Even spiritual notions hold water as a vital healing matter. As such, we could see from the film how water affected the characters, especially Noriko. She always found herself in the sea, the river stream, or even drinking from a sōzu (water fountain) during the toughest times of her life. As if the flowing waters spoke for her when she could not find the words or exact expression to expound what she thinks or feels.
The epilogue scene was New Year's day. In spite of the numerous times that the winter season was shown or talked about in the film, this is the only time that falling and covered snow was in sight. There was only rain and sunshine before, but now she has snow. As the new year changed, the old seasons withered away and Noriko has changed as well, except for one thing, she still goes to Tea every Saturday.
Noriko was portrayed to be slow and almost overly analytical. Perhaps, inside her mind was where her real world was. Though, learning about tea has changed her as a person; and now each time she could not find life, going to the teahouse gave her renewal and refreshment.
"By teaching, you are taught."
"Perhaps, my real beginning comes now."
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