In Tremble All You Want, Akiko Ohku showed us a painfully shy woman’s path towards seizing control of her romantic destiny while Marriage Hunting Beauty told us that there are no short cuts to love. My Sweet Grappa Remedies (甘いお酒でうがい, Amai Osake de Ugai) takes things one step further as a lonely middle-aged woman gradually finds the desire to make a change in her otherwise unchanging existence, coming to like herself as seen in the eyes of others and trusting in happiness however temporary it might turn out to be.
40-something Yoshiko (Yasuko Matsuyuki) is an unmarried woman working at a publishing company. She tells us that she keeps a diary that she never expects any one to read, not even herself, and mostly spends her free time drinking alone at home or in elegant bars. From the sometimes lengthy gaps between entires, we can see that Yoshiko’s life is generally uneventful and essentially unchanging, that she has few friends, and though she gets by well enough on her own she often dwells on what might have been, disappointed that she was never able to become a mother.
She is, however, a deeply caring person, sublimating her need for human attachment into anthropomorphising objects, gently patting her bicycle saddle as she parks it for the day and becoming alarmed that has ended up “in prison” after being impounded. If she’d had children, she muses, she might never have let them leave the apartment. Yet when she discovers one of her favourite earrings is missing, she decides not to look for it because she accepts its decision, later welcoming it home when it makes an unexpected return.
Overhearing the conversation of the women next to her at a bar, she wonders if their idle complaints that half the year is gone already are excessively negative but accepts that she too is living life in retrograde and needs to learn how to look forward with positivity, which might be why she starts making a series of small but active changes. She observes the world around her from a new angle in crossing a footbridge she has never crossed before, swaps her comfortable red loafers for grey high heels, and her futon for a bed.
Some of these changes at least are down to an unexpected friendship with a young woman in her office, Wakabayashi (Haru Kuroki), who invites her out on paydays and brightens up the office atmosphere with her goofy antics. Yoshiko herself might be classically quirky, but she mainly keeps her quirks to herself, quietly getting on with her work, while Wakabayashi is the opposite, cheerfully outgoing yet perhaps just as lonely if in a less obvious way. It’s Wakabayashi who sets her on off another path by introducing her to a friend from university, Okamoto (Hiroya Shimizu), who has recently joined their company and to whom Yoshiko had already taken a liking in passing though he is more than 20 years her junior.
Too shy to shout bingo, Yoshiko is a lifelong believer in love, observing a young couple at festival and hoping they enjoy a night of passion in the fullness of their youth. She still remembers old anniversaries with long gone exes and wonders if they still remember her, but resents the universe’s attempts to test her with texts from past lovers every time she becomes interested in another man. The fact that Okamoto is so much younger is never really an issue, though Yoshiko admits that she likes the fact he seems to favour older, lived in homes over sparkling new builds while she helps him look for a new apartment.
Yoshiko celebrates the fact that colour seems to be returning to her black and white days, her desire to see the dark sea where she feels closest to death in order to reaffirm her connection to life seemingly receding. From her childhood, Yoshiko had wondered if the woman she sees in the mirror is the same one everyone else sees, but later realises that the vision of herself reflected is “somewhat nice”, catching sight of herself in Wakabayashi’s mirrored sunshades and noticing that she is in fact smiling. Reinvigorated by her younger friends, Yoshiko steps into an acceptance of herself, looking forward rather than back and willing to take on new challenges rather than merely dropping into a defensive position of protecting the irreplaceable. No longer dark and foreboding, the sea is now sunny and calm, a scene of peace and positivity with nary a cloud on the horizon.
Original trailer (no subtitles)