Tradicionalni recepti

Recenzija filma: Jiro Dreams of Sushi

Recenzija filma: Jiro Dreams of Sushi


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Dokumentarni film Davida Gelba o Jiru Ono opravdava hype

Sjajan dokumentarac Davida Gelba, Jiro Dreams of Sushi, koji trenutno svira u IFC Centru u West Villageu u New Yorku, isporučuje okuse, teksture, boje i mir gotovo savršene omakaze za sushi bolje od bilo koje 3-D tehnologije. Kažem "gotovo savršeno" jer je tema filma, Jiro Ono, težio i težio savršenstvu već 85 godina. Jiro neumorno juri za savršenstvom, cijelo vrijeme znajući da ga nikada ne može postići. Ipak, upravo težnja prema onome što Jiro naziva "ukusnošću" ispunjava njegovo postojanje značenjem.

Među Jirovim obožavateljima su Anthony Bourdain, Eric Ripert i Joël Robuchon, a da ne spominjemo anonimne Michelinove inspektore koji su previdjeli činjenicu da je Jiroov restoran, Sukiyabashi Jiro, jednostavan desetosjed koji se nalazi u utrobi tokijskog sustava podzemne željeznice. No, Jiro i njegov sin, koji je cijeli život tiho šegrtovao pod svojim ocem i nastavlja to činiti čak i kad se i sam približava starosti, postigli su razinu zadovoljstva i zadovoljstva koja dolazi tek kad netko uistinu ovlada svojim životnim djelom; kad mir i radost zbog bavljenja onim što volimo postane njihova ostavština.

Obećao sam svom uredniku da ću se u ovoj recenziji suzdržati od korištenja sada umorne i prekomjerne fraze "porno s hranom". Dovoljno je reći da tijekom filma postoji mnogo stenjanja i zatvorenih očiju, kako od Jirovih sretnih pokrovitelja na ekranu, tako i od publike. U kazalište sam prokrijumčario kutiju Pockyja, japanske grickalice koja se najbolje opisuje kao mikro tanki štapići od keksa, djelomično uronjeni u čokoladu. Da nije moje vjerne Pockyjeve palice, sažvakao bih presvlake na svom sjedalu gledajući Jira kako svojom sojinom četkom utapka svaki netaknuti komad ribe, umjetnik u svakom smislu riječi vješt kao i svaki slikar koji je ikada živio.


Recenzija: ‘Jiro Dreams Of Sushi ’ Fascinantan (ako se ponekad ljuti) profil majstora kuhara

Postoji nešto čudno zastrašujuće o glazbenim naznakama u “Jiro Dreams of Sushi, ” dokumentarno-spektakularna studija o 85-godišnjem sushiju & ldquoshokunin & rdquo ili obrtniku. Osamdesetogodišnjak Jiro Ono najradosniji je radoholičar. Može zamisliti umirovljenje, barem ne dok ne postane previše ružan ili previše nemoćan da služi svojim pokroviteljima. Jednostavno rečeno, Ono voli svoj zahtjevan posao glavnog kuhara u Sukiyabashi Jiru, vlastitom sushi baru sa 10 sjedala u Ginzi. Sukiyabashi Jiro najmanji je restoran koji je Michelinov vodič ocijenio s tri zvjezdice.

Onome je strast prema poslu jedina mogućnost. Što je tobože zašto redatelj David Gelb predstavlja Ono i njegov tim restorana & rsquos pedantan proces pripreme hrane s mješavinom sanjivog strahopoštovanja i fetišizirane pažnje prema detaljima. Ovaj pristup zvuči prikladno u teoriji. No, u praksi je to manje nego zadovoljavajuće. Gelb snima neke pripremne scene isparavanja ribe, a zatim usporene snimke pretvaranja u sushi, dok film & rsquos bombastična i melankolična partitura, sastavljena uglavnom od glazbe Phillip Glass i Max Richter, govori najviše. Ta glazba gotovo sama ruši emocionalnu ravnotežu ključnih scena koje uspostavljaju glavnu tezu filma & rsquos, naime da je rad u svijetu Ono & rsquos san i disciplina. Iako su njegovo poštovanje i vizija redatelja očiti, “Jiro Dreams of Sushi ” često se osjeća pretjerano zahvaljujući Gelb & rsquos neobičnoj mješavini tonova.

Obroci u restoranu Jiro Ono & rsquos počinju od 300 dolara i vrte se samo oko sushija. Nema drugih predjela i morate rezervirati mjesec dana unaprijed da biste dobili mjesto. Najstariji sin Jira & rsquosa, Yoshikazu, objašnjava da, & ldquoWe & rsquore ne pokušavamo biti ekskluzivni ili elitni. & Rdquo Umjesto toga, & rsquos je ponos za Onos da bude potpuno temeljit. Ta aura usredotočenog usredotočenja određuje veći dio Gelb & rsquosove vizije Onoga kao majstora šokunina. Na primjer, Yoshikazu nastoji kupiti restoran & rsquos ribu od prodavača na ribarnici Tsukiji koji su specijalizirani samo za tunu ili škampe.

Pa ipak, veliki dio onoga što je osvježavajuće o Jiru Onou je koliko je skroman i samokritičan. Ta dražesna osobina također je mudro istaknuta početkom filma kada istaknuti japanski kritičar hrane spominje kako Jiro neumorno radi na poboljšanju svojih recepata i održavanju svježeg jelovnika Sukiyasbashi Jiro & rsquos. Jiro spremno priznaje da discipliniranost i iskustvo ne ubiru uvijek velike rezultate. Yoshikazu daje glas svom ocu & rsquos teoriji o tome kako u konačnici morate biti talentirani da biste uspjeli kada kaže: & ldquoTučno učenje ne jamči & rsquoll da ćete postati dobra osoba. & Rdquo

Činjenica da Yoshikazu zagovara ovu filozofiju zapanjujuća je jer je imala izravan utjecaj na to kako je Jiro odgojio i njega i Takashija, njegovog mlađeg brata. Oboje djece je, prema Jiru, samo & ldquo dopušteno & rdquo da završe srednju školu. Zatim su započeli svoje desetogodišnje naukovanje kod Jira u njegovu restoranu. Jiro je prva osoba koja je rekla da je vjerojatno bio nemaran roditelj, našalivši se kako će mladi Takashi, sada već punoljetan, gledati na svog oca kao na stranca u vlastitoj kući.

No, Jiro je također aktivno poticao Takashija da pokrene vlastiti sushi restoran na brdima Roppongi. Yoshikazu nam govori da će, kao Jiro & rsquos starije dijete, na kraju naslijediti Sukiyabashi Jira. Stoga, kada Jiro potiče Takashija da se sam račva, to je njegov način da pomogne svom najmlađem sinu da preživi. & Rsquos Nema pretjerane sentimentalnosti prema toj odluci, možete reći da Jiro poštuje svog sina kao vršnjaka po načinu na koji prevoditelju Gelb & rsquos kaže da je smatrao da je Takashi dovoljno dobar kuhar za pokretanje vlastitog restorana.

Čini se da se svaka odluka koju Jiro Ono donese u “Jiro Dreams of Sushi ” svodi na pitanje discipline, a zatim i naklonosti. Zbog čega Welb & rsquos pristupa snimanju Jira i njegovog tima na poslu tako uznemirujuće. Korištenje brojeva poput Richter & rsquos & ldquoBerlin od strane Overnight & rdquo ili & ldquoInfra 5 & rdquo upućuje na izraženu melankoliju i nagovještaj turbulencije u Ono & rsquos procesu koji snimci Gelb & rsquosa jednostavno ne podržavaju. S jedne strane, lako je razumjeti zašto je Richter i Glass & rsquo minimalistička estetika odabrana za bodovanje ovih scena: kao skladbe, obje su strukturirane oko ideje da i najmanji preokret može promijeniti prirodu naizgled rutine.

Richter i Glass & rsquo komadi također su uzorkovani kako bi odrazili Ono & rsquos povezanost njegovog posla iz snova s ​​njegovom tvrdom i brzom disciplinom. Ali zamišljeno raspoloženje Richter i Glass & rsquo komada ne & uvijek se želira s Gelb & rsquos snimkama. Kraj filma & rsquos, Gelb nagovještava da bi, zapravo, mogao postojati razlog za pomisao da je ugrožen zanatski stil kuhanja Ono & rsquos, naime globalna prekomjerna konzumacija svježe ribe. No, s dvojicom sinova koji nastavljaju njegovo naslijeđe, “Jiro Dreams of Sushi ” trebao bi biti slavlje umjetničkih dostignuća, a ne prijevremeni pokop. Možda je Gelb trebao dobiti Dan Deacon ocijeniti svoj film i hellip [B]

Ovaj članak se odnosi na: Recenzije i oznake Jiro Dreams of Sushi, Pregled


Recenzija: ‘Jiro Dreams Of Sushi ’ Fascinantan (ako se ponekad ljuti) profil majstora kuhara

Postoji nešto čudno zastrašujuće o glazbenim naznakama u “Jiro Dreams of Sushi, ” dokumentarno-spektakularna studija o 85-godišnjem sushiju & ldquoshokunin & rdquo ili obrtniku. Osamdesetogodišnjak Jiro Ono najradosniji je radoholičar. Može zamisliti umirovljenje, barem ne dok ne postane previše ružan ili previše nemoćan da služi svojim pokroviteljima. Jednostavno rečeno, Ono voli svoj zahtjevan posao glavnog kuhara u Sukiyabashi Jiru, vlastitom sushi baru sa 10 sjedala u Ginzi. Sukiyabashi Jiro najmanji je restoran koji je Michelinov vodič ocijenio s tri zvjezdice.

Onome je strast prema poslu jedina mogućnost. Što je tobože zašto redatelj David Gelb predstavlja Ono i njegov tim restorana & rsquos pedantan proces pripreme hrane s mješavinom sanjivog strahopoštovanja i fetišizirane pažnje prema detaljima. Ovaj pristup zvuči prikladno u teoriji. No, u praksi je to manje nego zadovoljavajuće. Gelb snima neke pripremne scene isparavanja ribe, a zatim usporene snimke pretvaranja u sushi, dok film & rsquos bombastična i melankolična partitura, sastavljena uglavnom od glazbe Phillip Glass i Max Richter, govori najviše. Ta glazba gotovo sama ruši emocionalnu ravnotežu ključnih scena koje uspostavljaju glavnu tezu filma & rsquos, naime da je rad u svijetu Ono & rsquos san i disciplina. Iako su njegovo poštovanje i vizija redatelja očiti, “Jiro Dreams of Sushi ” često se osjeća pretjerano zahvaljujući Gelb & rsquos neobičnoj mješavini tonova.

Obroci u restoranu Jiro Ono & rsquos počinju od 300 dolara i vrte se samo oko sushija. Nema drugih predjela i morate rezervirati mjesec dana unaprijed da biste dobili mjesto. Najstariji sin Jira & rsquosa, Yoshikazu, objašnjava da, & ldquoWe & rsquore ne pokušavamo biti ekskluzivni ili elitni. & Rdquo Umjesto toga, & rsquos je ponos za Onos da bude potpuno temeljit. Ta aura usredotočenog usredotočenja određuje veći dio Gelb & rsquosove vizije Onoga kao majstora šokunina. Na primjer, Yoshikazu nastoji kupiti restoran & rsquos ribu od prodavača na ribarnici Tsukiji koji su specijalizirani samo za tunu ili škampe.

Pa ipak, veliki dio onoga što je osvježavajuće o Jiru Onou je koliko je skroman i samokritičan. Ta dražesna osobina također je mudro istaknuta početkom filma kada istaknuti japanski kritičar hrane spominje kako Jiro neumorno radi na poboljšanju svojih recepata i održavanju svježeg jelovnika Sukiyasbashi Jiro & rsquos. Jiro spremno priznaje da discipliniranost i iskustvo ne ubiru uvijek velike rezultate. Yoshikazu daje glas svom ocu & rsquos teoriji o tome kako u konačnici morate biti talentirani da biste uspjeli kada kaže: & ldquoTučno učenje ne jamči & rsquoll da ćete postati dobra osoba. & Rdquo

Činjenica da Yoshikazu zagovara ovu filozofiju zapanjujuća je jer je imala izravan utjecaj na to kako je Jiro odgojio i njega i Takashija, njegovog mlađeg brata. Oboje djece je, prema Jiru, samo & ldquo dopušteno & rdquo da završe srednju školu. Zatim su započeli svoje desetogodišnje naukovanje kod Jira u njegovu restoranu. Jiro je prva osoba koja je rekla da je vjerojatno bio nemaran roditelj, našalivši se kako će mladi Takashi, sada već punoljetan, gledati na svog oca kao na stranca u vlastitoj kući.

No, Jiro je također aktivno poticao Takashija da pokrene vlastiti sushi restoran na brdima Roppongi. Yoshikazu nam govori da će, kao Jiro & rsquos starije dijete, na kraju naslijediti Sukiyabashi Jira. Stoga, kada Jiro potiče Takashija da se sam račva, to je njegov način da pomogne svom najmlađem sinu da preživi. & Rsquos Nema pretjerane sentimentalnosti prema toj odluci, možete reći da Jiro poštuje svog sina kao vršnjaka po načinu na koji prevoditelju Gelb & rsquos kaže da je smatrao da je Takashi dovoljno dobar kuhar za pokretanje vlastitog restorana.

Čini se da se svaka odluka koju Jiro Ono donese u “Jiro Dreams of Sushi ” svodi na pitanje discipline, a zatim i naklonosti. Zbog čega Welb & rsquos pristupa snimanju Jira i njegovog tima na poslu tako uznemirujuće. Korištenje brojeva poput Richter & rsquos & ldquoBerlin od strane Overnight & rdquo ili & ldquoInfra 5 & rdquo upućuje na izraženu melankoliju i nagovještaj turbulencije u Ono & rsquos procesu koji snimci Gelb & rsquosa jednostavno ne podržavaju. S jedne strane, lako je razumjeti zašto je Richter i Glass & rsquo minimalistička estetika odabrana za bodovanje ovih scena: kao skladbe, obje su strukturirane oko ideje da i najmanji preokret može promijeniti prirodu naizgled rutine.

Richter i Glass & rsquo komadi također su uzorkovani kako bi odrazili Ono & rsquos povezanost njegovog posla iz snova s ​​njegovom tvrdom i brzom disciplinom. Ali zamišljeno raspoloženje Richter i Glass & rsquo komada ne & uvijek se želira s Gelb & rsquos snimkama. Kraj filma & rsquos, Gelb nagovještava da bi, zapravo, mogao postojati razlog za pomisao da je ugrožen zanatski stil kuhanja Ono & rsquos, naime globalna prekomjerna konzumacija svježe ribe. No, s dvojicom sinova koji nastavljaju njegovo naslijeđe, “Jiro Dreams of Sushi ” trebao bi biti slavlje umjetničkih dostignuća, a ne prijevremeni pokop. Možda je Gelb trebao dobiti Dan Deacon ocijeniti svoj film i hellip [B]

Ovaj članak se odnosi na: Recenzije i oznake Jiro Dreams of Sushi, Pregled


Recenzija: ‘Jiro Dreams Of Sushi ’ Fascinantan (ako se ponekad ljuti) profil majstora kuhara

Postoji nešto čudno zastrašujuće o glazbenim naznakama u “Jiro Dreams of Sushi, ” dokumentarno-spektakularna studija o 85-godišnjem sushiju & ldquoshokunin & rdquo ili obrtniku. Osamdesetogodišnjak Jiro Ono najradosniji je radoholičar. Može zamisliti umirovljenje, barem ne dok ne postane previše ružan ili previše nemoćan da služi svojim pokroviteljima. Jednostavno rečeno, Ono voli svoj zahtjevan posao glavnog kuhara u Sukiyabashi Jiru, vlastitom sushi baru sa 10 sjedala u Ginzi. Sukiyabashi Jiro najmanji je restoran koji je Michelinov vodič ocijenio s tri zvjezdice.

Onome je strast prema poslu jedina mogućnost. Što je tobože zašto redatelj David Gelb predstavlja Ono i njegov tim restorana & rsquos pedantan proces pripreme hrane s mješavinom sanjivog strahopoštovanja i fetišizirane pažnje prema detaljima. Ovaj pristup zvuči prikladno u teoriji. No, u praksi je to manje nego zadovoljavajuće. Gelb snima neke pripremne scene isparavanja ribe, a zatim usporene snimke pretvaranja u sushi, dok film & rsquos bombastična i melankolična partitura, sastavljena uglavnom od glazbe Phillip Glass i Max Richter, govori najviše. Ta glazba gotovo sama ruši emocionalnu ravnotežu ključnih scena koje uspostavljaju glavnu tezu filma & rsquos, naime da je rad u svijetu Ono & rsquos san i disciplina. Iako su njegovo poštovanje i vizija redatelja očiti, “Jiro Dreams of Sushi ” često se osjeća pretjerano zahvaljujući Gelb & rsquos neobičnoj mješavini tonova.

Obroci u restoranu Jiro Ono & rsquos počinju od 300 dolara i vrte se samo oko sushija. Nema drugih predjela i morate rezervirati mjesec dana unaprijed da biste dobili mjesto. Najstariji sin Jira & rsquosa, Yoshikazu, objašnjava da, & ldquoWe & rsquore ne pokušavamo biti ekskluzivni ili elitni. & Rdquo Umjesto toga, & rsquos je ponos za Onos da bude potpuno temeljit. Ta aura usredotočenog usredotočenja određuje veći dio Gelb & rsquosove vizije Onoga kao majstora šokunina. Na primjer, Yoshikazu nastoji kupiti restoran & rsquos ribu od prodavača na ribarnici Tsukiji koji su specijalizirani samo za tunu ili škampe.

Pa ipak, veliki dio onoga što je osvježavajuće o Jiru Onou je koliko je skroman i samokritičan. Ta dražesna osobina također je mudro istaknuta početkom filma kada istaknuti japanski kritičar hrane spominje kako Jiro neumorno radi na poboljšanju svojih recepata i održavanju svježeg jelovnika Sukiyasbashi Jiro & rsquos. Jiro spremno priznaje da discipliniranost i iskustvo ne ubiru uvijek velike rezultate. Yoshikazu daje glas svom ocu & rsquos teoriji o tome kako u konačnici morate biti talentirani da biste uspjeli kada kaže: & ldquoTučno učenje ne jamči & rsquoll da ćete postati dobra osoba. & Rdquo

Činjenica da Yoshikazu zagovara ovu filozofiju zapanjujuća je jer je imala izravan utjecaj na to kako je Jiro odgojio i njega i Takashija, njegovog mlađeg brata. Oboje djece je, prema Jiru, samo & ldquo dopušteno & rdquo da završe srednju školu. Zatim su započeli svoje desetogodišnje naukovanje kod Jira u njegovu restoranu. Jiro je prva osoba koja je rekla da je vjerojatno bio nemaran roditelj, našalivši se kako će mladi Takashi, sada već punoljetan, gledati na svog oca kao na stranca u vlastitoj kući.

No, Jiro je također aktivno poticao Takashija da pokrene vlastiti sushi restoran na brdima Roppongi. Yoshikazu nam govori da će, kao Jiro & rsquos starije dijete, na kraju naslijediti Sukiyabashi Jira. Stoga, kada Jiro potiče Takashija da se sam račva, to je njegov način da pomogne svom najmlađem sinu da preživi. & Rsquos Nema pretjerane sentimentalnosti prema toj odluci, možete reći da Jiro poštuje svog sina kao vršnjaka po načinu na koji prevoditelju Gelb & rsquos kaže da je smatrao da je Takashi dovoljno dobar kuhar za pokretanje vlastitog restorana.

Čini se da se svaka odluka koju Jiro Ono donese u “Jiro Dreams of Sushi ” svodi na pitanje discipline, a zatim i naklonosti. Zbog čega Welb & rsquos pristupa snimanju Jira i njegovog tima na poslu tako uznemirujuće. Korištenje brojeva poput Richter & rsquos & ldquoBerlin od strane Overnight & rdquo ili & ldquoInfra 5 & rdquo upućuje na izraženu melankoliju i nagovještaj turbulencije u Ono & rsquos procesu koji snimci Gelb & rsquosa jednostavno ne podržavaju. S jedne strane, lako je razumjeti zašto je Richter i Glass & rsquo minimalistička estetika odabrana za bodovanje ovih scena: kao skladbe, obje su strukturirane oko ideje da i najmanji preokret može promijeniti prirodu naizgled rutine.

Richter i Glass & rsquo komadi također su uzorkovani kako bi odrazili Ono & rsquos povezanost njegovog posla iz snova s ​​njegovom tvrdom i brzom disciplinom. Ali zamišljeno raspoloženje Richter i Glass & rsquo komada ne & uvijek se želira s Gelb & rsquos snimkama. Kraj filma & rsquos, Gelb nagovještava da bi, zapravo, mogao postojati razlog za pomisao da je ugrožen zanatski stil kuhanja Ono & rsquos, naime globalna prekomjerna konzumacija svježe ribe. No, s dvojicom sinova koji nastavljaju njegovo naslijeđe, “Jiro Dreams of Sushi ” trebao bi biti slavlje umjetničkih dostignuća, a ne prijevremeni pokop. Možda je Gelb trebao dobiti Dan Deacon ocijeniti svoj film i hellip [B]

Ovaj članak se odnosi na: Recenzije i oznake Jiro Dreams of Sushi, Pregled


Recenzija: ‘Jiro Dreams Of Sushi ’ Fascinantan (ako se ponekad ljuti) profil majstora kuhara

Postoji nešto čudno zastrašujuće o glazbenim naznakama u “Jiro Dreams of Sushi, ” dokumentarno-spektakularna studija o 85-godišnjem sushiju & ldquoshokunin & rdquo ili obrtniku. Osamdesetogodišnjak Jiro Ono najradosniji je radoholičar. Može zamisliti umirovljenje, barem ne dok ne postane previše ružan ili previše nemoćan da služi svojim pokroviteljima. Jednostavno rečeno, Ono voli svoj zahtjevan posao glavnog kuhara u Sukiyabashi Jiru, vlastitom sushi baru sa 10 sjedala u Ginzi. Sukiyabashi Jiro najmanji je restoran koji je Michelinov vodič ocijenio s tri zvjezdice.

Onome je strast prema poslu jedina mogućnost. Što je tobože zašto redatelj David Gelb predstavlja Ono i njegov tim restorana & rsquos pedantan proces pripreme hrane s mješavinom sanjivog strahopoštovanja i fetišizirane pažnje prema detaljima. Ovaj pristup zvuči prikladno u teoriji. No, u praksi je to manje nego zadovoljavajuće. Gelb snima neke pripremne scene isparavanja ribe, a zatim usporene snimke pretvaranja u sushi, dok film & rsquos bombastična i melankolična partitura, sastavljena uglavnom od glazbe Phillip Glass i Max Richter, govori najviše. Ta glazba gotovo sama ruši emocionalnu ravnotežu ključnih scena koje uspostavljaju glavnu tezu filma & rsquos, naime da je rad u svijetu Ono & rsquos san i disciplina. Iako su njegovo poštovanje i vizija redatelja očiti, “Jiro Dreams of Sushi ” često se osjeća pretjerano zahvaljujući Gelb & rsquos neobičnoj mješavini tonova.

Obroci u restoranu Jiro Ono & rsquos počinju od 300 dolara i vrte se samo oko sushija. Nema drugih predjela i morate rezervirati mjesec dana unaprijed da biste dobili mjesto. Najstariji sin Jira & rsquosa, Yoshikazu, objašnjava da, & ldquoWe & rsquore ne pokušavamo biti ekskluzivni ili elitni. & Rdquo Umjesto toga, & rsquos je ponos za Onos da bude potpuno temeljit. Ta aura usredotočenog usredotočenja određuje veći dio Gelb & rsquosove vizije Onoga kao majstora šokunina. Na primjer, Yoshikazu nastoji kupiti restoran & rsquos ribu od prodavača na ribarnici Tsukiji koji su specijalizirani samo za tunu ili škampe.

Pa ipak, veliki dio onoga što je osvježavajuće o Jiru Onou je koliko je skroman i samokritičan. Ta dražesna osobina također je mudro istaknuta početkom filma kada istaknuti japanski kritičar hrane spominje kako Jiro neumorno radi na poboljšanju svojih recepata i održavanju svježeg jelovnika Sukiyasbashi Jiro & rsquos. Jiro spremno priznaje da discipliniranost i iskustvo ne ubiru uvijek velike rezultate. Yoshikazu daje glas svom ocu & rsquos teoriji o tome kako u konačnici morate biti talentirani da biste uspjeli kada kaže: & ldquoTučno učenje ne jamči & rsquoll da ćete postati dobra osoba. & Rdquo

Činjenica da Yoshikazu zagovara ovu filozofiju zapanjujuća je jer je imala izravan utjecaj na to kako je Jiro odgojio i njega i Takashija, njegovog mlađeg brata. Oboje djece je, prema Jiru, samo & ldquo dopušteno & rdquo da završe srednju školu. Zatim su započeli svoje desetogodišnje naukovanje kod Jira u njegovu restoranu. Jiro je prva osoba koja je rekla da je vjerojatno bio nemaran roditelj, našalivši se kako će mladi Takashi, sada već punoljetan, gledati na svog oca kao na stranca u vlastitoj kući.

No, Jiro je također aktivno poticao Takashija da pokrene vlastiti sushi restoran na brdima Roppongi. Yoshikazu nam govori da će, kao Jiro & rsquos starije dijete, na kraju naslijediti Sukiyabashi Jira. Stoga, kada Jiro potiče Takashija da se sam račva, to je njegov način da pomogne svom najmlađem sinu da preživi. & Rsquos Nema pretjerane sentimentalnosti prema toj odluci, možete reći da Jiro poštuje svog sina kao vršnjaka po načinu na koji prevoditelju Gelb & rsquos kaže da je smatrao da je Takashi dovoljno dobar kuhar za pokretanje vlastitog restorana.

Čini se da se svaka odluka koju Jiro Ono donese u “Jiro Dreams of Sushi ” svodi na pitanje discipline, a zatim i naklonosti. Zbog čega Welb & rsquos pristupa snimanju Jira i njegovog tima na poslu tako uznemirujuće. Korištenje brojeva poput Richter & rsquos & ldquoBerlin od strane Overnight & rdquo ili & ldquoInfra 5 & rdquo upućuje na izraženu melankoliju i nagovještaj turbulencije u Ono & rsquos procesu koji snimci Gelb & rsquosa jednostavno ne podržavaju. S jedne strane, lako je razumjeti zašto je Richter i Glass & rsquo minimalistička estetika odabrana za bodovanje ovih scena: kao skladbe, obje su strukturirane oko ideje da i najmanji preokret može promijeniti prirodu naizgled rutine.

Richter i Glass & rsquo komadi također su uzorkovani kako bi odrazili Ono & rsquos povezanost njegovog posla iz snova s ​​njegovom tvrdom i brzom disciplinom. Ali zamišljeno raspoloženje Richter i Glass & rsquo komada ne & uvijek se želira s Gelb & rsquos snimkama. Kraj filma & rsquos, Gelb nagovještava da bi, zapravo, mogao postojati razlog za pomisao da je ugrožen zanatski stil kuhanja Ono & rsquos, naime globalna prekomjerna konzumacija svježe ribe. No, s dvojicom sinova koji nastavljaju njegovo naslijeđe, “Jiro Dreams of Sushi ” trebao bi biti slavlje umjetničkih dostignuća, a ne prijevremeni pokop. Možda je Gelb trebao dobiti Dan Deacon ocijeniti svoj film i hellip [B]

Ovaj članak se odnosi na: Recenzije i oznake Jiro Dreams of Sushi, Pregled


Recenzija: ‘Jiro Dreams Of Sushi ’ Fascinantan (ako se ponekad ljuti) profil majstora kuhara

Postoji nešto čudno zastrašujuće o glazbenim naznakama u “Jiro Dreams of Sushi, ” dokumentarno-spektakularna studija o 85-godišnjem sushiju & ldquoshokunin & rdquo ili obrtniku. Osamdesetogodišnjak Jiro Ono najradosniji je radoholičar. Može zamisliti umirovljenje, barem ne dok ne postane previše ružan ili previše nemoćan da služi svojim pokroviteljima. Jednostavno rečeno, Ono voli svoj zahtjevan posao glavnog kuhara u Sukiyabashi Jiru, vlastitom sushi baru sa 10 sjedala u Ginzi. Sukiyabashi Jiro najmanji je restoran koji je Michelinov vodič ocijenio s tri zvjezdice.

Onome je strast prema poslu jedina mogućnost. Što je tobože zašto redatelj David Gelb predstavlja Ono i njegov tim restorana & rsquos pedantan proces pripreme hrane s mješavinom sanjivog strahopoštovanja i fetišizirane pažnje prema detaljima. Ovaj pristup zvuči prikladno u teoriji. No, u praksi je to manje nego zadovoljavajuće. Gelb snima neke pripremne scene isparavanja ribe, a zatim usporene snimke pretvaranja u sushi, dok film & rsquos bombastična i melankolična partitura, sastavljena uglavnom od glazbe Phillip Glass i Max Richter, govori najviše. Ta glazba gotovo sama ruši emocionalnu ravnotežu ključnih scena koje uspostavljaju glavnu tezu filma & rsquos, naime da je rad u svijetu Ono & rsquos san i disciplina. Iako su njegovo poštovanje i vizija redatelja očiti, “Jiro Dreams of Sushi ” često se osjeća pretjerano zahvaljujući Gelb & rsquos neobičnoj mješavini tonova.

Obroci u restoranu Jiro Ono & rsquos počinju od 300 dolara i vrte se samo oko sushija. Nema drugih predjela i morate rezervirati mjesec dana unaprijed da biste dobili mjesto. Najstariji sin Jira & rsquosa, Yoshikazu, objašnjava da, & ldquoWe & rsquore ne pokušavamo biti ekskluzivni ili elitni. & Rdquo Umjesto toga, & rsquos je ponos za Onos da bude potpuno temeljit. Ta aura usredotočenog usredotočenja određuje veći dio Gelb & rsquosove vizije Onoga kao majstora šokunina. Na primjer, Yoshikazu nastoji kupiti restoran & rsquos ribu od prodavača na ribarnici Tsukiji koji su specijalizirani samo za tunu ili škampe.

Pa ipak, veliki dio onoga što je osvježavajuće o Jiru Onou je koliko je skroman i samokritičan. Ta dražesna osobina također je mudro istaknuta početkom filma kada istaknuti japanski kritičar hrane spominje kako Jiro neumorno radi na poboljšanju svojih recepata i održavanju svježeg jelovnika Sukiyasbashi Jiro & rsquos. Jiro spremno priznaje da discipliniranost i iskustvo ne ubiru uvijek velike rezultate. Yoshikazu daje glas svom ocu & rsquos teoriji o tome kako u konačnici morate biti talentirani da biste uspjeli kada kaže: & ldquoTučno učenje ne jamči & rsquoll da ćete postati dobra osoba. & Rdquo

Činjenica da Yoshikazu zagovara ovu filozofiju zapanjujuća je jer je imala izravan utjecaj na to kako je Jiro odgojio i njega i Takashija, njegovog mlađeg brata. Oboje djece je, prema Jiru, samo & ldquo dopušteno & rdquo da završe srednju školu. Zatim su započeli svoje desetogodišnje naukovanje kod Jira u njegovu restoranu. Jiro je prva osoba koja je rekla da je vjerojatno bio nemaran roditelj, našalivši se kako će mladi Takashi, sada već punoljetan, gledati na svog oca kao na stranca u vlastitoj kući.

No, Jiro je također aktivno poticao Takashija da pokrene vlastiti sushi restoran na brdima Roppongi. Yoshikazu nam govori da će, kao Jiro & rsquos starije dijete, na kraju naslijediti Sukiyabashi Jira. Stoga, kada Jiro potiče Takashija da se sam račva, to je njegov način da pomogne svom najmlađem sinu da preživi. & Rsquos Nema pretjerane sentimentalnosti prema toj odluci, možete reći da Jiro poštuje svog sina kao vršnjaka po načinu na koji prevoditelju Gelb & rsquos kaže da je smatrao da je Takashi dovoljno dobar kuhar za pokretanje vlastitog restorana.

Čini se da se svaka odluka koju Jiro Ono donese u “Jiro Dreams of Sushi ” svodi na pitanje discipline, a zatim i naklonosti. Zbog čega Welb & rsquos pristupa snimanju Jira i njegovog tima na poslu tako uznemirujuće. Korištenje brojeva poput Richter & rsquos & ldquoBerlin od strane Overnight & rdquo ili & ldquoInfra 5 & rdquo upućuje na izraženu melankoliju i nagovještaj turbulencije u Ono & rsquos procesu koji snimci Gelb & rsquosa jednostavno ne podržavaju. S jedne strane, lako je razumjeti zašto je Richter i Glass & rsquo minimalistička estetika odabrana za bodovanje ovih scena: kao skladbe, obje su strukturirane oko ideje da i najmanji preokret može promijeniti prirodu naizgled rutine.

Richter i Glass & rsquo komadi također su uzorkovani kako bi odrazili Ono & rsquos povezanost njegovog posla iz snova s ​​njegovom tvrdom i brzom disciplinom. Ali zamišljeno raspoloženje Richter i Glass & rsquo komada ne & uvijek se želira s Gelb & rsquos snimkama. Kraj filma & rsquos, Gelb nagovještava da bi, zapravo, mogao postojati razlog za pomisao da je ugrožen zanatski stil kuhanja Ono & rsquos, naime globalna prekomjerna konzumacija svježe ribe. No, s dvojicom sinova koji nastavljaju njegovo naslijeđe, “Jiro Dreams of Sushi ” trebao bi biti slavlje umjetničkih dostignuća, a ne prijevremeni pokop. Možda je Gelb trebao dobiti Dan Deacon ocijeniti svoj film i hellip [B]

Ovaj članak se odnosi na: Recenzije i oznake Jiro Dreams of Sushi, Pregled


Recenzija: ‘Jiro Dreams Of Sushi ’ Fascinantan (ako se ponekad ljuti) profil majstora kuhara

Postoji nešto čudno zastrašujuće o glazbenim naznakama u “Jiro Dreams of Sushi, ” dokumentarno-spektakularna studija o 85-godišnjem sushiju & ldquoshokunin & rdquo ili obrtniku. Osamdesetogodišnjak Jiro Ono najradosniji je radoholičar. Može zamisliti umirovljenje, barem ne dok ne postane previše ružan ili previše nemoćan da služi svojim pokroviteljima. Jednostavno rečeno, Ono voli svoj zahtjevan posao glavnog kuhara u Sukiyabashi Jiru, vlastitom sushi baru sa 10 sjedala u Ginzi. Sukiyabashi Jiro najmanji je restoran koji je Michelinov vodič ocijenio s tri zvjezdice.

Onome je strast prema poslu jedina mogućnost. Što je tobože zašto redatelj David Gelb predstavlja Ono i njegov tim restorana & rsquos pedantan proces pripreme hrane s mješavinom sanjivog strahopoštovanja i fetišizirane pažnje prema detaljima. Ovaj pristup zvuči prikladno u teoriji. No, u praksi je to manje nego zadovoljavajuće. Gelb snima neke pripremne scene isparavanja ribe, a zatim usporene snimke pretvaranja u sushi, dok film & rsquos bombastična i melankolična partitura, sastavljena uglavnom od glazbe Phillip Glass i Max Richter, govori najviše. Ta glazba gotovo sama ruši emocionalnu ravnotežu ključnih scena koje uspostavljaju glavnu tezu filma & rsquos, naime da je rad u svijetu Ono & rsquos san i disciplina. Iako su njegovo poštovanje i vizija redatelja očiti, “Jiro Dreams of Sushi ” često se osjeća pretjerano zahvaljujući Gelb & rsquos neobičnoj mješavini tonova.

Obroci u restoranu Jiro Ono & rsquos počinju od 300 dolara i vrte se samo oko sushija. Nema drugih predjela i morate rezervirati mjesec dana unaprijed da biste dobili mjesto. Najstariji sin Jira & rsquosa, Yoshikazu, objašnjava da, & ldquoWe & rsquore ne pokušavamo biti ekskluzivni ili elitni. & Rdquo Umjesto toga, & rsquos je ponos za Onos da bude potpuno temeljit. Ta aura usredotočenog usredotočenja određuje veći dio Gelb & rsquosove vizije Onoga kao majstora šokunina. For example, Yoshikazu makes a point of buying the restaurant&rsquos fish from vendors at the Tsukiji Fish Market that only specialize in tuna or shrimp.

And yet, a big part of what&rsquos so refreshing about Jiro Ono is how modest and self-critical he is. That endearing trait is also wisely highlighted early on in the film when a prominent Japanese food critic mentions how tirelessly Jiro works to improve his recipes and to keep Sukiyasbashi Jiro&rsquos menu fresh. Jiro readily admits that being disciplined and experienced doesn&rsquot always reap great results. Yoshikazu gives voice to his father&rsquos theory about how ultimately you need to be talented to succeed when he says, &ldquoStudying hard doesn&rsquot guarantee you&rsquoll become a good person.&rdquo

The fact that Yoshikazu is advocating this philosophy is striking since it had a direct impact on how both he and Takashi, his little brother, were raised by Jiro. Both children were, according to Jiro, only &ldquoallowed&rdquo to graduate high school. Then they started their ten-year apprenticeship with Jiro at his restaurant. Jiro is the first person to say that he was probably a negligent parent, joking about how a young Takashi, now an adult, would look at his father as a stranger in his own house.

But Jiro also actively encouraged Takashi to start his own sushi restaurant in Roppongi Hills. Yoshikazu tells us that, as Jiro&rsquos older child, he will eventually inherit Sukiyabashi Jiro. So when Jiro encourages Takashi to branch out on his own, it&rsquos his way of helping his youngest son to survive. There&rsquos no excessive sentimentality to that decision you can tell that Jiro respects his son as a peer by the way he tells Gelb&rsquos translator that he felt Takashi was a good enough chef to start his own restaurant.

Every decision that Jiro Ono makes in “Jiro Dreams of Sushi” seems to boil down to a matter of discipline first and then affection. Which is what makes Welb&rsquos approach to filming Jiro and his team at work so disconcerting. The use of numbers like Richter&rsquos &ldquoBerlin by Overnight&rdquo or &ldquoInfra 5&rdquo suggest a pronounced melancholy and a hint of turbulence to Ono&rsquos process that Gelb&rsquos footage simply does not support. On the one hand, it&rsquos easy to see why Richter and Glass&rsquo minimalist aesthetic were chosen to score these scenes: as compositions, they&rsquore both structured around the notion that the slightest inflection can change the nature of the seemingly routine.

Richter and Glass&rsquo pieces are also sampled in order to reflect Ono&rsquos conflation of his dream job with his hard-and-fast discipline. But the pensive mood of Richter and Glass&rsquo pieces don&rsquot always gel with Gelb&rsquos footage. By film&rsquos end, Gelb hints that there might, in fact, be a reason to think that Ono&rsquos artisanal style of cooking is endangered, namely the global over-consumption of fresh fish. But with two sons carrying on his legacy, “Jiro Dreams of Sushi” should be a celebration of an artist&rsquos accomplishments, not a premature burial. Maybe Gelb should have gotten Dan Deacon to score his film&hellip [B]

This Article is related to: Reviews and tagged Jiro Dreams of Sushi, Review


Review: ‘Jiro Dreams Of Sushi’ A Fascinating (If Sometimes Jarring) Profile Of A Master Chef

There&rsquos something weirdly off-putting about the music cues in “Jiro Dreams of Sushi,” a documentary-cum-character study of an 85-year-old sushi &ldquoshokunin&rdquo or craftsman. Octogenarian Jiro Ono is the cheeriest of workaholics. He can&rsquot imagine retiring, at least not until he&rsquos either too ugly or too infirm to serve his patrons. Simply put, Ono loves his demanding job as the head chef at Sukiyabashi Jiro, his own 10-seat, Ginza-based sushi bar. Sukiyabashi Jiro is the smallest restaurant to be given a three-star rating by the Michelin Guide.

To Ono, being passionate about your job is the only option. Which is ostensibly why director David Gelb presents Ono and his restaurant team&rsquos meticulous process of food preparation with a mix of dreamy awe and fetishized attention to detail. This approach sounds fitting in theory. But in practice, it&rsquos less than satisfying. Gelb films some prep scenes of fish being pared and then turned into sushi in slow motion while the film&rsquos bombastic and melancholic score, composed largely of music by Phillip Glass i Max Richter, does most of the talking. That music almost single-handedly destroys the emotional equilibrium of key scenes that establish the film&rsquos main thesis, namely that work in Ono&rsquos world is both a dream and discipline. While its director&rsquos reverence and vision is apparent, “Jiro Dreams of Sushi” often feels overdone thanks to Gelb&rsquos unusual mix of tones.

The meals at Jiro Ono&rsquos restaurant start at $300 and only revolve around sushi. There are no other appetizers available and you must make a reservation about a month in advance to get a seat. Jiro&rsquos eldest son, Yoshikazu, explains that, &ldquoWe&rsquore not trying to be exclusive or elite.&rdquo Instead, it&rsquos a point of pride for the Onos to be completely thorough. That aura of single-minded focus determines much of Gelb&rsquos vision of Ono as a master shokunin. For example, Yoshikazu makes a point of buying the restaurant&rsquos fish from vendors at the Tsukiji Fish Market that only specialize in tuna or shrimp.

And yet, a big part of what&rsquos so refreshing about Jiro Ono is how modest and self-critical he is. That endearing trait is also wisely highlighted early on in the film when a prominent Japanese food critic mentions how tirelessly Jiro works to improve his recipes and to keep Sukiyasbashi Jiro&rsquos menu fresh. Jiro readily admits that being disciplined and experienced doesn&rsquot always reap great results. Yoshikazu gives voice to his father&rsquos theory about how ultimately you need to be talented to succeed when he says, &ldquoStudying hard doesn&rsquot guarantee you&rsquoll become a good person.&rdquo

The fact that Yoshikazu is advocating this philosophy is striking since it had a direct impact on how both he and Takashi, his little brother, were raised by Jiro. Both children were, according to Jiro, only &ldquoallowed&rdquo to graduate high school. Then they started their ten-year apprenticeship with Jiro at his restaurant. Jiro is the first person to say that he was probably a negligent parent, joking about how a young Takashi, now an adult, would look at his father as a stranger in his own house.

But Jiro also actively encouraged Takashi to start his own sushi restaurant in Roppongi Hills. Yoshikazu tells us that, as Jiro&rsquos older child, he will eventually inherit Sukiyabashi Jiro. So when Jiro encourages Takashi to branch out on his own, it&rsquos his way of helping his youngest son to survive. There&rsquos no excessive sentimentality to that decision you can tell that Jiro respects his son as a peer by the way he tells Gelb&rsquos translator that he felt Takashi was a good enough chef to start his own restaurant.

Every decision that Jiro Ono makes in “Jiro Dreams of Sushi” seems to boil down to a matter of discipline first and then affection. Which is what makes Welb&rsquos approach to filming Jiro and his team at work so disconcerting. The use of numbers like Richter&rsquos &ldquoBerlin by Overnight&rdquo or &ldquoInfra 5&rdquo suggest a pronounced melancholy and a hint of turbulence to Ono&rsquos process that Gelb&rsquos footage simply does not support. On the one hand, it&rsquos easy to see why Richter and Glass&rsquo minimalist aesthetic were chosen to score these scenes: as compositions, they&rsquore both structured around the notion that the slightest inflection can change the nature of the seemingly routine.

Richter and Glass&rsquo pieces are also sampled in order to reflect Ono&rsquos conflation of his dream job with his hard-and-fast discipline. But the pensive mood of Richter and Glass&rsquo pieces don&rsquot always gel with Gelb&rsquos footage. By film&rsquos end, Gelb hints that there might, in fact, be a reason to think that Ono&rsquos artisanal style of cooking is endangered, namely the global over-consumption of fresh fish. But with two sons carrying on his legacy, “Jiro Dreams of Sushi” should be a celebration of an artist&rsquos accomplishments, not a premature burial. Maybe Gelb should have gotten Dan Deacon to score his film&hellip [B]

This Article is related to: Reviews and tagged Jiro Dreams of Sushi, Review


Review: ‘Jiro Dreams Of Sushi’ A Fascinating (If Sometimes Jarring) Profile Of A Master Chef

There&rsquos something weirdly off-putting about the music cues in “Jiro Dreams of Sushi,” a documentary-cum-character study of an 85-year-old sushi &ldquoshokunin&rdquo or craftsman. Octogenarian Jiro Ono is the cheeriest of workaholics. He can&rsquot imagine retiring, at least not until he&rsquos either too ugly or too infirm to serve his patrons. Simply put, Ono loves his demanding job as the head chef at Sukiyabashi Jiro, his own 10-seat, Ginza-based sushi bar. Sukiyabashi Jiro is the smallest restaurant to be given a three-star rating by the Michelin Guide.

To Ono, being passionate about your job is the only option. Which is ostensibly why director David Gelb presents Ono and his restaurant team&rsquos meticulous process of food preparation with a mix of dreamy awe and fetishized attention to detail. This approach sounds fitting in theory. But in practice, it&rsquos less than satisfying. Gelb films some prep scenes of fish being pared and then turned into sushi in slow motion while the film&rsquos bombastic and melancholic score, composed largely of music by Phillip Glass i Max Richter, does most of the talking. That music almost single-handedly destroys the emotional equilibrium of key scenes that establish the film&rsquos main thesis, namely that work in Ono&rsquos world is both a dream and discipline. While its director&rsquos reverence and vision is apparent, “Jiro Dreams of Sushi” often feels overdone thanks to Gelb&rsquos unusual mix of tones.

The meals at Jiro Ono&rsquos restaurant start at $300 and only revolve around sushi. There are no other appetizers available and you must make a reservation about a month in advance to get a seat. Jiro&rsquos eldest son, Yoshikazu, explains that, &ldquoWe&rsquore not trying to be exclusive or elite.&rdquo Instead, it&rsquos a point of pride for the Onos to be completely thorough. That aura of single-minded focus determines much of Gelb&rsquos vision of Ono as a master shokunin. For example, Yoshikazu makes a point of buying the restaurant&rsquos fish from vendors at the Tsukiji Fish Market that only specialize in tuna or shrimp.

And yet, a big part of what&rsquos so refreshing about Jiro Ono is how modest and self-critical he is. That endearing trait is also wisely highlighted early on in the film when a prominent Japanese food critic mentions how tirelessly Jiro works to improve his recipes and to keep Sukiyasbashi Jiro&rsquos menu fresh. Jiro readily admits that being disciplined and experienced doesn&rsquot always reap great results. Yoshikazu gives voice to his father&rsquos theory about how ultimately you need to be talented to succeed when he says, &ldquoStudying hard doesn&rsquot guarantee you&rsquoll become a good person.&rdquo

The fact that Yoshikazu is advocating this philosophy is striking since it had a direct impact on how both he and Takashi, his little brother, were raised by Jiro. Both children were, according to Jiro, only &ldquoallowed&rdquo to graduate high school. Then they started their ten-year apprenticeship with Jiro at his restaurant. Jiro is the first person to say that he was probably a negligent parent, joking about how a young Takashi, now an adult, would look at his father as a stranger in his own house.

But Jiro also actively encouraged Takashi to start his own sushi restaurant in Roppongi Hills. Yoshikazu tells us that, as Jiro&rsquos older child, he will eventually inherit Sukiyabashi Jiro. So when Jiro encourages Takashi to branch out on his own, it&rsquos his way of helping his youngest son to survive. There&rsquos no excessive sentimentality to that decision you can tell that Jiro respects his son as a peer by the way he tells Gelb&rsquos translator that he felt Takashi was a good enough chef to start his own restaurant.

Every decision that Jiro Ono makes in “Jiro Dreams of Sushi” seems to boil down to a matter of discipline first and then affection. Which is what makes Welb&rsquos approach to filming Jiro and his team at work so disconcerting. The use of numbers like Richter&rsquos &ldquoBerlin by Overnight&rdquo or &ldquoInfra 5&rdquo suggest a pronounced melancholy and a hint of turbulence to Ono&rsquos process that Gelb&rsquos footage simply does not support. On the one hand, it&rsquos easy to see why Richter and Glass&rsquo minimalist aesthetic were chosen to score these scenes: as compositions, they&rsquore both structured around the notion that the slightest inflection can change the nature of the seemingly routine.

Richter and Glass&rsquo pieces are also sampled in order to reflect Ono&rsquos conflation of his dream job with his hard-and-fast discipline. But the pensive mood of Richter and Glass&rsquo pieces don&rsquot always gel with Gelb&rsquos footage. By film&rsquos end, Gelb hints that there might, in fact, be a reason to think that Ono&rsquos artisanal style of cooking is endangered, namely the global over-consumption of fresh fish. But with two sons carrying on his legacy, “Jiro Dreams of Sushi” should be a celebration of an artist&rsquos accomplishments, not a premature burial. Maybe Gelb should have gotten Dan Deacon to score his film&hellip [B]

This Article is related to: Reviews and tagged Jiro Dreams of Sushi, Review


Review: ‘Jiro Dreams Of Sushi’ A Fascinating (If Sometimes Jarring) Profile Of A Master Chef

There&rsquos something weirdly off-putting about the music cues in “Jiro Dreams of Sushi,” a documentary-cum-character study of an 85-year-old sushi &ldquoshokunin&rdquo or craftsman. Octogenarian Jiro Ono is the cheeriest of workaholics. He can&rsquot imagine retiring, at least not until he&rsquos either too ugly or too infirm to serve his patrons. Simply put, Ono loves his demanding job as the head chef at Sukiyabashi Jiro, his own 10-seat, Ginza-based sushi bar. Sukiyabashi Jiro is the smallest restaurant to be given a three-star rating by the Michelin Guide.

To Ono, being passionate about your job is the only option. Which is ostensibly why director David Gelb presents Ono and his restaurant team&rsquos meticulous process of food preparation with a mix of dreamy awe and fetishized attention to detail. This approach sounds fitting in theory. But in practice, it&rsquos less than satisfying. Gelb films some prep scenes of fish being pared and then turned into sushi in slow motion while the film&rsquos bombastic and melancholic score, composed largely of music by Phillip Glass i Max Richter, does most of the talking. That music almost single-handedly destroys the emotional equilibrium of key scenes that establish the film&rsquos main thesis, namely that work in Ono&rsquos world is both a dream and discipline. While its director&rsquos reverence and vision is apparent, “Jiro Dreams of Sushi” often feels overdone thanks to Gelb&rsquos unusual mix of tones.

The meals at Jiro Ono&rsquos restaurant start at $300 and only revolve around sushi. There are no other appetizers available and you must make a reservation about a month in advance to get a seat. Jiro&rsquos eldest son, Yoshikazu, explains that, &ldquoWe&rsquore not trying to be exclusive or elite.&rdquo Instead, it&rsquos a point of pride for the Onos to be completely thorough. That aura of single-minded focus determines much of Gelb&rsquos vision of Ono as a master shokunin. For example, Yoshikazu makes a point of buying the restaurant&rsquos fish from vendors at the Tsukiji Fish Market that only specialize in tuna or shrimp.

And yet, a big part of what&rsquos so refreshing about Jiro Ono is how modest and self-critical he is. That endearing trait is also wisely highlighted early on in the film when a prominent Japanese food critic mentions how tirelessly Jiro works to improve his recipes and to keep Sukiyasbashi Jiro&rsquos menu fresh. Jiro readily admits that being disciplined and experienced doesn&rsquot always reap great results. Yoshikazu gives voice to his father&rsquos theory about how ultimately you need to be talented to succeed when he says, &ldquoStudying hard doesn&rsquot guarantee you&rsquoll become a good person.&rdquo

The fact that Yoshikazu is advocating this philosophy is striking since it had a direct impact on how both he and Takashi, his little brother, were raised by Jiro. Both children were, according to Jiro, only &ldquoallowed&rdquo to graduate high school. Then they started their ten-year apprenticeship with Jiro at his restaurant. Jiro is the first person to say that he was probably a negligent parent, joking about how a young Takashi, now an adult, would look at his father as a stranger in his own house.

But Jiro also actively encouraged Takashi to start his own sushi restaurant in Roppongi Hills. Yoshikazu tells us that, as Jiro&rsquos older child, he will eventually inherit Sukiyabashi Jiro. So when Jiro encourages Takashi to branch out on his own, it&rsquos his way of helping his youngest son to survive. There&rsquos no excessive sentimentality to that decision you can tell that Jiro respects his son as a peer by the way he tells Gelb&rsquos translator that he felt Takashi was a good enough chef to start his own restaurant.

Every decision that Jiro Ono makes in “Jiro Dreams of Sushi” seems to boil down to a matter of discipline first and then affection. Which is what makes Welb&rsquos approach to filming Jiro and his team at work so disconcerting. The use of numbers like Richter&rsquos &ldquoBerlin by Overnight&rdquo or &ldquoInfra 5&rdquo suggest a pronounced melancholy and a hint of turbulence to Ono&rsquos process that Gelb&rsquos footage simply does not support. On the one hand, it&rsquos easy to see why Richter and Glass&rsquo minimalist aesthetic were chosen to score these scenes: as compositions, they&rsquore both structured around the notion that the slightest inflection can change the nature of the seemingly routine.

Richter and Glass&rsquo pieces are also sampled in order to reflect Ono&rsquos conflation of his dream job with his hard-and-fast discipline. But the pensive mood of Richter and Glass&rsquo pieces don&rsquot always gel with Gelb&rsquos footage. By film&rsquos end, Gelb hints that there might, in fact, be a reason to think that Ono&rsquos artisanal style of cooking is endangered, namely the global over-consumption of fresh fish. But with two sons carrying on his legacy, “Jiro Dreams of Sushi” should be a celebration of an artist&rsquos accomplishments, not a premature burial. Maybe Gelb should have gotten Dan Deacon to score his film&hellip [B]

This Article is related to: Reviews and tagged Jiro Dreams of Sushi, Review


Review: ‘Jiro Dreams Of Sushi’ A Fascinating (If Sometimes Jarring) Profile Of A Master Chef

There&rsquos something weirdly off-putting about the music cues in “Jiro Dreams of Sushi,” a documentary-cum-character study of an 85-year-old sushi &ldquoshokunin&rdquo or craftsman. Octogenarian Jiro Ono is the cheeriest of workaholics. He can&rsquot imagine retiring, at least not until he&rsquos either too ugly or too infirm to serve his patrons. Simply put, Ono loves his demanding job as the head chef at Sukiyabashi Jiro, his own 10-seat, Ginza-based sushi bar. Sukiyabashi Jiro is the smallest restaurant to be given a three-star rating by the Michelin Guide.

To Ono, being passionate about your job is the only option. Which is ostensibly why director David Gelb presents Ono and his restaurant team&rsquos meticulous process of food preparation with a mix of dreamy awe and fetishized attention to detail. This approach sounds fitting in theory. But in practice, it&rsquos less than satisfying. Gelb films some prep scenes of fish being pared and then turned into sushi in slow motion while the film&rsquos bombastic and melancholic score, composed largely of music by Phillip Glass i Max Richter, does most of the talking. That music almost single-handedly destroys the emotional equilibrium of key scenes that establish the film&rsquos main thesis, namely that work in Ono&rsquos world is both a dream and discipline. While its director&rsquos reverence and vision is apparent, “Jiro Dreams of Sushi” often feels overdone thanks to Gelb&rsquos unusual mix of tones.

The meals at Jiro Ono&rsquos restaurant start at $300 and only revolve around sushi. There are no other appetizers available and you must make a reservation about a month in advance to get a seat. Jiro&rsquos eldest son, Yoshikazu, explains that, &ldquoWe&rsquore not trying to be exclusive or elite.&rdquo Instead, it&rsquos a point of pride for the Onos to be completely thorough. That aura of single-minded focus determines much of Gelb&rsquos vision of Ono as a master shokunin. For example, Yoshikazu makes a point of buying the restaurant&rsquos fish from vendors at the Tsukiji Fish Market that only specialize in tuna or shrimp.

And yet, a big part of what&rsquos so refreshing about Jiro Ono is how modest and self-critical he is. That endearing trait is also wisely highlighted early on in the film when a prominent Japanese food critic mentions how tirelessly Jiro works to improve his recipes and to keep Sukiyasbashi Jiro&rsquos menu fresh. Jiro readily admits that being disciplined and experienced doesn&rsquot always reap great results. Yoshikazu gives voice to his father&rsquos theory about how ultimately you need to be talented to succeed when he says, &ldquoStudying hard doesn&rsquot guarantee you&rsquoll become a good person.&rdquo

The fact that Yoshikazu is advocating this philosophy is striking since it had a direct impact on how both he and Takashi, his little brother, were raised by Jiro. Both children were, according to Jiro, only &ldquoallowed&rdquo to graduate high school. Then they started their ten-year apprenticeship with Jiro at his restaurant. Jiro is the first person to say that he was probably a negligent parent, joking about how a young Takashi, now an adult, would look at his father as a stranger in his own house.

But Jiro also actively encouraged Takashi to start his own sushi restaurant in Roppongi Hills. Yoshikazu tells us that, as Jiro&rsquos older child, he will eventually inherit Sukiyabashi Jiro. So when Jiro encourages Takashi to branch out on his own, it&rsquos his way of helping his youngest son to survive. There&rsquos no excessive sentimentality to that decision you can tell that Jiro respects his son as a peer by the way he tells Gelb&rsquos translator that he felt Takashi was a good enough chef to start his own restaurant.

Every decision that Jiro Ono makes in “Jiro Dreams of Sushi” seems to boil down to a matter of discipline first and then affection. Which is what makes Welb&rsquos approach to filming Jiro and his team at work so disconcerting. The use of numbers like Richter&rsquos &ldquoBerlin by Overnight&rdquo or &ldquoInfra 5&rdquo suggest a pronounced melancholy and a hint of turbulence to Ono&rsquos process that Gelb&rsquos footage simply does not support. On the one hand, it&rsquos easy to see why Richter and Glass&rsquo minimalist aesthetic were chosen to score these scenes: as compositions, they&rsquore both structured around the notion that the slightest inflection can change the nature of the seemingly routine.

Richter and Glass&rsquo pieces are also sampled in order to reflect Ono&rsquos conflation of his dream job with his hard-and-fast discipline. But the pensive mood of Richter and Glass&rsquo pieces don&rsquot always gel with Gelb&rsquos footage. By film&rsquos end, Gelb hints that there might, in fact, be a reason to think that Ono&rsquos artisanal style of cooking is endangered, namely the global over-consumption of fresh fish. But with two sons carrying on his legacy, “Jiro Dreams of Sushi” should be a celebration of an artist&rsquos accomplishments, not a premature burial. Maybe Gelb should have gotten Dan Deacon to score his film&hellip [B]

This Article is related to: Reviews and tagged Jiro Dreams of Sushi, Review


Gledaj video: Jiro Dreams of Sushi now on Netflix! Netflix (Svibanj 2022).