Customer Reviews

The Scent of Green Papaya ( L'Odeur de la papaye verte ) [ NON-USA FORMAT, PAL, Reg.0 Import - Australia ]

5 star:		(39)
4 star:		(16)
3 star:		(5)
2 star:		(4)
1 star:		(5)

 

 

It is hard to imagine a more beautiful movie than Tran Anh Hung's "The Scent of Green Papaya". With a bare minimum of dialogue, Tran brings to the screen the story of Mui, a 10 year old Vietnamese girl who comes from the country to Saigon in the early 1950's as a live-in servant to an upper-class family whose wealth is being squandered by the dissolute and womanizing head of the house.

Mui is a simple soul who finds delight in things most of us take for granted; the exquisite cinematography in this film brings out the beauty in the most ordinary objects and lets us share in Mui's sense of wonder and discovery. Ten years later, when the family's wealth has been dissipated to the point where they can no longer afford a live-in servant, Mui is sent to work for a wealthy young pianist, Khuyen, the friend of the eldest son of her former employers. Khuyen is engaged to be married but in Mui he finds the peace and serenity that is lacking in his shallow and materialistic fiancee.

In very basic terms, "The Scent of Green Papaya" could be called a Vietnamese Cinderella story, except for the lack of a wicked stepmother. Despite the almost total lack of dialogue in the second half of the film, the movie is so beautifully crafted, and techically and emotionally so satisfying, that you come away awed with how Tran was able to do so much with so little. This film is living testimony to the fact that sometimes less is more. It's a beautiful, unforgettable story of a young woman's coming of age.

Judy Lind

Expatriate Vietnamese director Tran Anh Hung, who was 29 years old in 1993 when he made *The Scent of Green Papaya*, joined a select pantheon that includes the likes of Orson Welles and Jean-Luc Godard (just to name a couple off the top of my head). Meaning, he was a "wunderkind" who changed cinema. ("Was"? He's still doing it.) Even though comparing *Green Papaya* to *Citizen Kane* is like comparing papayas to oranges, the fact remains that Hung's debut had a similarly galvanizing effect on cinema that *Kane* did. This movie, quite simply, put Vietnam on the cinematic map. Set during the pre-war 1950's, it chronicles the experiences of a young servant-girl named Mui who works and lives in a well-to-do, somewhat Westernized household. Halfway through, it jumps forward 10 years: having been forced out of her job by financial constraints, Mui is sent by her employers to a wealthy pianist who's a friend of the family. Naturally, she falls in love with the handsome pianist. And there's your story. Sorry for the spoilers, but the simplicity of the virtually nonexistent "plot" is the least thing you should concern yourself with. A review below mine groused about wanting a "story in the mix", and complained that the movie's nothing more than a series of beautiful pictures. . . . First of all, in today's all-too-ugly cinema, I think it's wrongheaded to dismiss a movie that's beautifully made -- as if beautifully-made movies are an everyday occurence. Secondly, there's story enough in this mix, although those viewers too unimaginative to see beyond the prison-walls of standard, formulaic, stupid "Hollywood" narrative conventions will doubtless not even find it, let alone appreciate it. The director's basic theme is the interconnectedness of things: with superb discrimination, Hung demonstrates how the infintesimal illuminates the infinite. His audacious ambition seems to be to tell a story of Life Itself. The interplay between the drama of the characters' lives and the drama of Nature which surrounds them enriches both stories. Most striking is the almost elliptical manner in which Hung focuses so intently on something like a drop of milk-sap falling on a leaf, while putting no more weight -- in fact, probably less -- on the major incidents of the characters lives. It's the appeal of a more quietist philosophy than ours to put things in their proper perspective. Doubtless this appeal will on deaf ears here in the West; the movie won't find many champions in a distracted USA, for instance. But that doesn't make it any less of a masterpiece. -- A quick rejoinder to the several reviewers who griped that this wasn't the "real" Vietnam. Well, that's correct in one sense: the movie was shot in France on sound-stages. Instead of marveling at the director's brilliance in evoking a deeply involving, realistic world from scratch, they choose to take issue with his "imagination", essentially saying that his cinematic vision is nothing more than wishful thinking. The obvious answer to this is to say that Donald Trump's America isn't my America, a homeless man's America isn't my America, etc. And Tran Anh Hung's impressionistic Vietnam isn't your Vietnam, and a cyclo-driver's Vietnam isn't yours, either. The movie is a work of imagination. It is not a documentary about the country. Does that clear things up for you? (Sheesh!)

I agree with all the positive things said about this movie. This is one of the most beautifully photographed movies you will ever see. Each shot is beautifully framed, an absolute poem for the eyes. The beauty of the film is almost beyond description and the poignant story, told almost without dialogue, is beautiful as well. Why then, why, oh why, was this movie put out with such a poor DVD transfer? The screen size is described as "FULL" but it is a compromise where if your TV is set to a 16 x 9 ratio you get a widened image with fat heads and elongated horizontal limbs; if your TV is set on regular 4 x 3 ratio you get a scrunched up image. The quality of the image is grainy and poor as well. This is such a disappointment because, almost more than any movie I can imagine, Scent of Green Papaya deserves a top quality DVD. Get this movie, but see it in your local art house theater if you ever get the chance. And we can only hope that this film will eventually be released in a new and improved DVD edition.

This lovely and subtle film washes over you like a gentle tropical rain. The dialog is sparse and the beauty dense in director Anh Hung Tran's portrait of a young servant girl in 1951 Saigon and those she serves. There is an intimacy to this film seldom if ever seen on screen. The simple beauty of nature and its effect on living can actually be felt by the viewer. We can hear the birds chirping and the sound of crickets all through this film just as though we are there.

Man San Lu portrays young Mui as she first comes to serve this family. She learns to cook and do her other tasks from an older servant who has been with this family for many years. You can almost smell the dishes as Mui learns the craft, the film itself a delicious study in our senses.

Young and pretty Mui finds beauty in the world around her and Tran's camera captures both her delight and the joy of nature itself. Mui watches milky nectar drip onto leaves of small trees and we see through her eyes what we sometimes take for granted.

This beautiful photography is used to capture more than just nature though. Mui's Mistress (Thi Loc Troung) has lost a daughter in the past who would now be Mui's age. When her husband runs away from his family and takes the money she has saved from her small business in Saigon selling fabric, more of the past is revealed. This is not the first time he has run off with the money and a woman. It is heartbreaking when we overhear her mother blaming her for what he has done.

Mui has come to care for the Mistress and she in turn has begun to look upon Mui as the daughter she lost, hoping her oldest son will grow up and take her for his wife. But it is not to be as times become even harder and the Mistress has to release Mui in a scene filled with kindness and sadness. The film has affected us in such a way that this moment takes on a true intimacy because we know the sweetness of Mui and the dignity of her Mistress who can no longer hide her heart.

Tran moves forward in time 10 years and beautiful Tran Nu Yen-Khe is Mui, now serving a young and upper class French conservatory student. He is more modern and successful and contrasts the old and new of a changing Saigon. His rich girlfriend is perfect for his life but as we have watched the joy and sweetness of Mui we understand completely why he drops her and breaks tradition by taking Mui instead. It will lead to happiness and one more thought about nature, both floral and human.

This gentle film has a beauty you can almost touch and you will find yourself thinking about it for some time afterward. This truly great director has taken a simple story with little dialog and created an emotionally rich film like no other. It is not your typical linear story, but film as art, and one that anyone who loves the cinematic aspects of film will relish in. A true masterpiece.

I am not going to do a plot review as that has been do so very well by many other viewers. My comments are about the beautiful emotional touches of the heart that makes this exraordinary. Beautiful, in every way. The sounds are exquisitly quiet...listen closely and you might here the sound of a peaceful heart for the first time in you life. You might realize how many of the simple pleasures in your life you miss watching beautiful Mui explore her world and seeing things her almost child-like fascination with what others might deem ordinary. Missing this film is like missing any work of art you have a chance to too view in your life. Please consider this one a must.

First of all do not mix this film with Hung's second work Cyclo. There is no violence killing or hopelessness in this movie. Rather it is about love in most innocent form it can ever be. Film is based on a very young vietnamese maid's life. There are no fighting GI joes or VC crawling under the wire. Rather story is based on 50's and 60's Saigon where war seems to be so far away.This film is about human relations and love. Yes There is not much talking and it is a semi silent film if you like to call it that way. But why you need words when camera takes the lead and portrays everything so colorful and soulful and hence comin up with one of the most remarkable visual screen feast ever. Colours the street scenes (which were all shot in a studio in France) and the natural way of acting leaves you so speechless. The innocent atmosphere that surrounds the film pull us in and never release us till the end. Tran Anh Hung is a real talent and he proves himself with this beauty as well as with colder and more violent but always brilliant cyclo. One of the very best films that was made in 90's. Watch it and enjoy.

This film captures beautiful images as seen by the naked eye when the camera hones in on such natural wonders as a frog on a large green leaf, an ant carrrying a crumb or a papaya tree with green ripening fruit located outside one's window. Or when the camera scans the the interior of the home and captures oriental lattice work on a porch railing or a screen wall divider or porcelain vases on a credence. These images are impressed both on the viewer and on the mind of Mui, a nine year old Vietnamese girl from a small village who gets a job as servant in the household of shopkeepers. The artistic use of cinematography leaves the viewer with a sense of wonder and anticipation, expecting to be spellbound by even more mysterious oriental imagery - the viewer will not be disappointed! This feeling and tone is mesmerizing as so much beauty and such a wonderful love story unfolds ... with a minimum of dialogue.

Mui learns the household routine from an older servant ... She awakens early to make breakfast, cleans the floors on her hands and knees, and learns to prepare delicious and colorful meals using a wok....The family has three sons, one is older, almost an adult, two are younger - the middle son is about 11 or 12 years old, the youngest is about 5 or 6 years and very mischevious. The family business is selling textiles. Mui is treated kindly and later learns the family had a daughter who would be exactly Mui's age. She died of a mysterious disease. There is slight tension within the family regarding the business. The wife runs the business impeccably. She keeps accounts accurately and locks up the cash in a safe. Her husband often spends his time daydreaming and playing an oriental stringed instrument, sometimes accompaned on a flute by the eldest son. In the past, the husband had abruptly left the household, taking all the cash and likely gambling away their savings. After one such episode, his baby daughter became ill and died exactly the day before he returned. This event haunts him ...

One day, the servants were awaiting his return for dinner but he does not show up. The wife was notified. She checked his room and then went to the safe only to discover all the household cash and savings were gone. He did not break his gambling habit. His wife gave some gold earrings to pawn to have enough money to buy rice for the meals. She sold some of her antique vases to make ends meet. Eventually, he returned but was ill. Despite the best Oriental medicine, including acupuncture and moxibustion, his health deteriorated and he died. Ten years passed and the textile business was waning. Mui was still employed by the same family who were contemplating sending her to work for a wealthier family since they could not afford to keep her any longer.

Mui accepted the news sadly and received a pearl necklace and gold bracelet as parting gifts from her former mistress. The mistress tearfully bid her good-bye, telling Mui how much she appreciated having her live in their home, feeling Mui was like her own daughter. Mui became the only servant to a bachelor musician/composer who was engaged to be married. His fiance intimated and teased him about having a young pretty servant but he ignored her jibes. The fiance was a modern VietnaMmese woman for the 1950's. She felt secure in her position and looked forward to an upper class lifestyle. Her confidence gradually eroded into jealousy as she suspected the musician had feelings for Mui and even possibly a physical relationship ...

Mui discovered a sketch of herself in a drawer in the musician's bedroom. She also found a tube of lipstick left there by his fiance . Despite her shyness, one day, when the musician was not at home, she dressed up in a silk dress and Vietnamese silk pants, putting on the lipstick and viewing herself in the mirror, dreaming of a lifestyle outside of the one she lived. That very day, the musician came home early. He wandered around his house, trying to find Mui. They were playing hide-and-seek, a cat-and-mouse game with each other. She deftly hid behind a door as he came around the corner and did not find her. She darted into her room and took off her fine clothes and lipstick. He silently tip-toed to her part of the house,gingerly opened her door ... and his fiance's greatest fears became realitiy. The film very sensitively portrays the unraveling of their engagement and delicately intimates the growing love between the musician and his servant. All of it is shown naturally, yet without any explicit scenes. By far, this is among the best oriental love stories ever shown on film. Erika Borsos (pepper flower)

I will not lie and say this movie filled with car chases or explosions. If you expect an action flick, look elsewhere.

I understand people's reaction to the slowness of this movie because when I saw it, I thought the same thing. However, over time I came to appreciate it. What this movie lacks in plot, it makes up in beautiful scenes and images. There are not many movies that leave you thinking about it years later.

Asian cinema has a marvelous allure. Whereas in the West, we want to know the story and how it reaches its climax, often in the East, how the story plays is much more important. So the journey itself is more important than point to which it arrives. "The Scent of Green Papaya," the first of 3 films I could find by director Tran Anh Hung (Cyclo & The Vertical Ray of the Sun), likewise focuses more on the journey itself than the climax. Lu Man San as 10-year old Mui seems remarkably well adjusted for a little girl separated from her mother & village and sent to work as a domestic in an urban household. As the mother of the new household, Trong Thi Loc has a great tenderness for Mui since she is the same age as the mother's daughter who died years earlier. Tran Ngoc Trung as the father enjoys playing music, although there is very little hint of how he makes his money. In fact, he absconds with the household funds periodically to go on what we assume to be pleasure binges. There are 3 brothers in the household, an older brother whose best friend Khuyen becomes a pivotal character, a middle brother who enjoys drowning ants in hot wax, and the youngest boy whose flatulence and urination into urns seems to be cute. As the story fast-forwards 10 years, Tran Nu Yen-Khe who has acted in each of Tran Anh Hung's films becomes Mui. The father has died & Mui is sent to live with Khuyen as a domestic housekeeper. She silently falls in love with Khuyen and dresses up for him. Khuyen played by the good-looking Vvong Hoa Hoi eventually boots his fiancee to the curb to visit Mui @ midnight. The film doesn't really climax as much as it just stops as Mui contemplates herself as a mother. The photography and attention to detail in the sets transports us to another time and era. We really believe we are in Vietnam. The film had an Oscar nomination in 1993 and won the Cannes Camera D'Or award & a French Academy award. "The Scent of Green Papaya" is as much a cinematic tone poem as it is a drama. It is lavish & lovingly filmed & acted. Enjoy!

I'm always on the lookout for Cinderella type stories. In this story we definitely have a servant and two "naughty" step-type brothers instead of sisters. The two boys in this movie don't quite know what to make of their new servant. They almost tend to treat her like a sister in some ways while otherwise completely ignoring her and never really speaking to her. One would imagine that children at that age would look beyond the servant/master issues and actually converse as friends.

The "stepmother" could be her employer, however Mui is never treated unkindly by her because she reminds her Mistress (Thi Loc Troung) of the daughter who died many years before and would have been the same age. When the family can no longer afford to employ her, she goes to live with a wealthy young pianist.

This movie excels in artistic expression and the silent interpretation of dreams and wishes. There is a minimum of dialogue and the most casual observances become almost a cherished encounter with nature. Mui watches little frogs, crickets and ants with a sense of awe while her employer's sons would be happy to kill any insect they found.

If you love cooking, you will probably love this movie. You can even get a quick lesson in how to stir-fry. Cooking is done on the floor over coals and Mui takes on the role of chef and housecleaner. There is an emphasis on the rituals of life. The simple is made beautiful. Every natural sound seems amplified. This is not only visually appealing; the sounds of rice being poured into a huge urn or the sizzle of oil in a wok are all spectacularly recorded.

Mui is told she will get to see her mother but we never see this occur. In fact, everything in the story takes place in the house or in the surrounding village.

Astonishingly beautiful and I can't believe this was shot entirely in Paris. Although, the ending does have a rather Amelie feel to it. You'll see.

The plot is really simple, but this doesn't seem to detract from the sheer visual enjoyment.

~The Rebecca Review