一家子奇奇怪怪的人，遇上一些更奇奇怪怪的人，比如那個(gè)舞蹈家，那兩個(gè)演變刑金剛的。。。這樣一堆神神經(jīng)經(jīng)的人組成了“茶之味”這部電影。
故事很平淡，簡(jiǎn)單的講述了每個(gè)人的經(jīng)歷，如同白描。雖然都是神經(jīng)不怎么正常的人，但每個(gè)人卻也神經(jīng)得可愛(ài)。執(zhí)著練習(xí)反單杠的小女孩，喜歡上新轉(zhuǎn)來(lái)的女生的小男孩，行為古怪的老爺爺，尤其那個(gè)在大蛋頭上拉屎的小男孩，實(shí)在讓人忍俊不禁。
這一家人貌似都不怎么善于用語(yǔ)言來(lái)表達(dá)自己的情感，多的時(shí)候大家都沉浸在自己的小世界之中胡思亂想著，或者用一些古古怪怪的行為來(lái)發(fā)泄自己的情感，有那么點(diǎn)兒的壓抑。雖然話(huà)不多，但每個(gè)人都有著豐富的內(nèi)心世界和情感，導(dǎo)演用有點(diǎn)兒幻想童話(huà)色彩的手法表現(xiàn)了出來(lái)，相當(dāng)?shù)目蓯?ài)。
不過(guò)這部電影最讓我抓狂的是：在二個(gè)半小時(shí)的時(shí)間里，俺愣是一直沒(méi)搞明白導(dǎo)演想要表達(dá)什么，完全看不出來(lái)什么“中心思想”，看不出來(lái)貫穿所有小故事的“紅線”在哪里?？吹臅r(shí)候總想著：快了，快了，導(dǎo)演馬上就會(huì)把謎底揭開(kāi)，俺作為觀眾就馬上會(huì)恍然大悟了?？墒堑妊降妊降妊降?，等到結(jié)束了也沒(méi)出現(xiàn)恍然大悟的感覺(jué)。感覺(jué)像被扔在了半空，上部得，下不去的，又如東西卡在喉嚨，咽不下去吐不出來(lái)的，蠻難受的。
不過(guò)也許這就是電影想要的效果吧。一直在考慮電影的題目“茶之味”。茶本來(lái)就是淡淡的，需要慢慢來(lái)品，慢慢來(lái)回味的。所以電影也不可能像烈酒一樣，讓人喝了，醉了，醒了，完了吧。嗯，俺再慢慢品品吧。

 <茶之味>,戲如其名。沒(méi)有和茶直接相關(guān)的因素，但能感覺(jué)到茶的沁香撲鼻、悠然自得。
    首先是景，很喜歡電影中自然清新的景色，讓人很想身在其中，一樹(shù)、一葉、一花，沒(méi)有特別和奇特之處，似乎隨處可見(jiàn)，但是纖塵不染的生活情景，尤其讓人覺(jué)得親切、喜愛(ài)。
    然后是敘事的節(jié)奏，整部影片長(zhǎng)達(dá)2個(gè)多小時(shí)，沒(méi)有激烈的情節(jié)，沒(méi)有高潮起伏，倒象是一個(gè)人在午后閑暇時(shí)光，漫無(wú)目的的想象。電影有很多種，一種純粹是視覺(jué)享受，刺激、驚險(xiǎn)或者完美的鏡頭一個(gè)接一個(gè)，絕對(duì)不會(huì)感覺(jué)時(shí)間的推移，絕對(duì)不需要思考，是消磨時(shí)間的首選；一種是大師級(jí)的電影，艱澀難懂，悶的讓你懷疑自己的品位，然后一遍又一遍，再看看影評(píng)人的觀點(diǎn)，才多了一點(diǎn)理解。還有一種，就象〈茶之味〉，完全放松，心情平和，類(lèi)似對(duì)弈或者品茶，比第一種多了一些回味。記憶中，臺(tái)灣、日本導(dǎo)演的片子經(jīng)常有這樣的風(fēng)格，簡(jiǎn)單、平緩而長(zhǎng)久。
    很喜歡的一幕：爺爺死后，一家人走進(jìn)老人的房間，偶然發(fā)現(xiàn)爺爺生前留下的畫(huà)本，每個(gè)人都有一冊(cè)，封面和圖案都很可愛(ài)，只是每一幅都差不多。媽媽是畫(huà)動(dòng)畫(huà)的，當(dāng)她連續(xù)翻動(dòng)畫(huà)本時(shí)，每個(gè)人開(kāi)始活動(dòng)起來(lái)。原來(lái)爺爺把印象中每個(gè)人的可愛(ài)之處畫(huà)了下來(lái)，多么令人懷念、充滿(mǎn)智慧的老人?。《?，大家都覺(jué)得他有點(diǎn)瘋瘋癲癲。

看了3遍才看完，中途總想著，這到底說(shuō)的啥？卻在幾次想放棄的時(shí)候被那些淺小的片段給打動(dòng)了。那雨中不停揮舞的雙手和被雨水打濕卻歡樂(lè)的臉龐，那在畫(huà)紙上終于翻躍上單杠的小小而堅(jiān)韌的身子，于是眼睛突然就濕潤(rùn)了。生活多平淡丫，但感動(dòng)與溫馨并沒(méi)有遠(yuǎn)離我們，就在我們的身邊，不經(jīng)意的出現(xiàn)。

以春野一目送電車(chē)開(kāi)始，懵懂的愛(ài)情在少年的心理萌發(fā)，遲到的表白讓人心理頗為惋惜，而這就是電影里第一個(gè)結(jié)，隨之，導(dǎo)演開(kāi)始泡茶，淡淡的茶逐漸四散開(kāi)來(lái)，幸子的巨大幻想，叔叔的扯淡故事，一個(gè)又一個(gè)不算故事的故事連接在一起，樸實(shí)平淡，好似午后坐在木質(zhì)走道上無(wú)所事事的眺望遠(yuǎn)方。影片中出現(xiàn)很多次大家靜靜的坐在那里，不知道在看什么，也確實(shí)什么都不必做，手中無(wú)茶，卻也覺(jué)得口有余香。毫無(wú)笑點(diǎn)的故事也能讓我笑得開(kāi)懷，我看到春野一為了喜愛(ài)的女生冒出的傻氣，看到了爺爺為了喜歡的工作而有些神經(jīng)質(zhì)，幸子也總是一副面無(wú)表情的樣子，對(duì)什么都無(wú)所謂的態(tài)度，叔叔問(wèn)，今天放假么，幸子平靜的說(shuō)不是啊，然后叔叔稍顯尷尬的看看媽媽?zhuān)蠹议_(kāi)始喝茶……這種感覺(jué)就好像是濕潤(rùn)的海風(fēng)一般，悄無(wú)聲息的浸透了人們疲憊的心，很多奇怪的小角色，也給影片增加不少有趣的細(xì)節(jié)，河邊跳舞的人，全身是血的紋身男，黑幫的傻大哥，棒球怪人，真是日本特有的荒誕，卻絲毫不覺(jué)得做作，就像是茶本身，我不禁想到采茶，曬茶的忙碌景致，每一股淡淡清香的背后卻也藏著那么多美妙的分分秒秒，如若品茶，請(qǐng)盡情的想象……當(dāng)爺爺死后全家翻看畫(huà)冊(cè)，幸子的后空翻讓人心中一震，實(shí)在是美的不一樣

The Taste of Tea is one of those films that audiences need to wait until the last minute to be able to obtain the message from the director. In other words, Katsuhito Ishill used a plot to arrange what was going to happen and what the connections were between the characters when setting an agenda.

The director’s plot to emphasize family relationships can be recognized in this film. Through out the process of the film, it seemed that the family members were only into their own worlds and there were no obvious intersections between each others: Yoshiko (mother) was busy of making her return to an animation career; Hajime (son) was falling in love with Tsuchiya; Sachiko (daughter)’s attention was on her back flip practices; however, in the end, when the director’s message was released, we saw the impacts that these individual family members had made to each other: the eccentric grandpa inspired Yoshiko’s creation of animation; uncle’s help made grandpa’s dream of singing came true; last not the least, the art album that grandpa produced for the whole members – they might not look like a close family, but likewise every family, they truly cared and tried to encourage each other from the bottom of the heart.

Individualism is another terminology that the director used in the making of this film. Characters in The Taste of Tea were living in the north of Tokyo, mainly having a life that was very different from the life style of city people, therefore, it is arguable to say their lives were a little boring. Despite this, Ishill let everybody show plenty of individualism which defined a crucial capitalism value – even the lest recognizable individual shins. The behaviours of grandpa might be very unreasonable, but he used those inspirations in his music video; the two guys wore wired animation outfits in the train; the baseball played who were training besides the river; the director operated numerous of little stories which might not make significant sense at explaining the story line, nevertheless, it is clear enough that a plot was used by Ishill to identify the simple value and worthiness of a human being.

The editing style in The Taste of Tea is something worth paying attention to. The editor did not do a job of cutting scenes tidy and frequently. In fact, abundant of long scenes appeared in the film to define a notion of the peaceful lives lived by the family and many others in the film. The most noticeable one in this category was the scene that the family was sitting in the living room and drinking teas, which occurred several times. Also, the similar editing style was shown in the scene that Hajime and Tsuchiya were playing chests (that scene lasted more than 2 minutes). I would put this film to the category of light comedy, where not many apparent “fun” scenes were found, but its funniness did offer somewhat philosophies. To me, The Taste of Tea was making a sound saying, life is just like the taste of the tea, which we are able to find in every corner of the world.