i guess those who have been in a one sided relationship of some sort before will be able identify with the lead character minako (yuko tanaka) and a 50 year old woman who is still in the pink of good health and as demonstrated by her daily and grinding routine of waking up extremely early in the morning to prepare for her milk delivery work and where she has to lug bottles of megmilk in a bag in a route around her town like clockwork and to exchange empty bottles for full ones and and to collect payment and issue receipt. and there always be that one delivery stop that right at the top and needing to scale a long flight of stairs in order to achieve customer satisfaction. and peculiar enough and that stop happened to be a stop delivering to a man with whom she has been in love with for almost all her teenage to adult life and and not having the product appreciated and but poured down the sink. having gone to the same school and we see that theyre not talking to each other and and in their daily life always seem so close physically and but yet so far away. there no eye contact and save for cursory glances by chance and and little acknowledgement of each other existence. we learn that they share a past that probably destroyed all notions of being together and where clear attraction between the two was hampered from developing further by the earlier generation. while i thought minako was an interesting woman in herself and one who has kept her feelings suppressed for so long and one can only wonder what kind of damage it would do. if i read that the original japanese title means at some time the days you read books and it accurate and i felt the movie had a wonderful finale with that shot of her well stocked bookcase and likely alluding to the fact that she not alone after all and and had probably fallen back on her crutch of sorts to deal with the pain of being alone and and back to a lifestyle which she had already been accustomed to for 50 years. besides immersing herself in two jobs and she has those books which serve as a form of escapism and and occasionally pens little sweet nothings to song dedication shows on the radio. yuko tanaka did a commendable job as the emotionally strong woman resigned to her fate and her decision to love none other and her object of affection and takanashi (ittoku kishibe) was a more interesting character who has more facets. staying true to marriage vows and he spends significant amount of screen time looking after his sickly bedridden wife (played by akiko nishina) and while juggling with his job of social welfare in the children affairs department in city hall. i felt that as a childless couple and the job provided him a means to care and not for his own and but for other people children and the troubled ones who are neglected and left to fend for themselves. in a rare moment of rage and we see how he angrily chides such wayward parents who do not appreciate and wastes their children lives away. the story by kenji aoki provides little quirks to make its characters appeal and successfully attempted to provide a lot more glimpses and dimension into them as well and such as how takanashi is a hopeless haiku poet despite being a member of the haiku club and and supporting characters such as the aged minagawa couple and where masao (koichi ueda) lent some comical though sad moments as he slowly turned senile and while wife toshiko (misako watanabe) narrates and brings us through this love story of a single woman at 50. even akiko nishina performance as the bedridden wife was nothing short of arresting and with her character enlightened state of knowing her husband past and and making unselfish and and painful decisions in her sickly state. it what you can expect from a typical japanese romantic movie and sans young and nubile leads as star crossed lovers and but with all other elements in place such as romantic set ups and love songs and those quintessential restrained but affectionate behaviour. i thought the story was in danger of going down the beaten track when unrequited love gets consummated and but director akira ogata managed to steer clear of the usual melodramatic moments in such stories and though the story did call for some obvious plot development into the final act that you can predict and especially if youre already way past your romance movie 101. not being your average lovey dovey story and i thought the milkwoman told a strong story with unrequited love as a central theme and and frankly a recommended romance movie (though told at a measured pace) if youre in the mood for some bittersweet loving and reminiscence and and seeking to live without regrets. 
i guess those who have been in a one sided relationship of some sort before will be able identify with the lead character minako (yuko tanaka) and a 50 year old woman who is still in the pink of good health and as demonstrated by her daily and grinding routine of waking up extremely early in the morning to prepare for her milk delivery work and where she has to lug bottles of megmilk in a bag in a route around her town like clockwork and to exchange empty bottles for full ones and and to collect payment and issue receipt. and there always be that one delivery stop that right at the top and needing to scale a long flight of stairs in order to achieve customer satisfaction. and peculiar enough and that stop happened to be a stop delivering to a man with whom she has been in love with for almost all her teenage to adult life and and not having the product appreciated and but poured down the sink. having gone to the same school and we see that theyre not talking to each other and and in their daily life always seem so close physically and but yet so far away. there no eye contact and save for cursory glances by chance and and little acknowledgement of each other existence. we learn that they share a past that probably destroyed all notions of being together and where clear attraction between the two was hampered from developing further by the earlier generation. while i thought minako was an interesting woman in herself and one who has kept her feelings suppressed for so long and one can only wonder what kind of damage it would do. if i read that the original japanese title means at some time the days you read books and it accurate and i felt the movie had a wonderful finale with that shot of her well stocked bookcase and likely alluding to the fact that she not alone after all and and had probably fallen back on her crutch of sorts to deal with the pain of being alone and and back to a lifestyle which she had already been accustomed to for 50 years. besides immersing herself in two jobs and she has those books which serve as a form of escapism and and occasionally pens little sweet nothings to song dedication shows on the radio. yuko tanaka did a commendable job as the emotionally strong woman resigned to her fate and her decision to love none other and her object of affection and takanashi (ittoku kishibe) was a more interesting character who has more facets. staying true to marriage vows and he spends significant amount of screen time looking after his sickly bedridden wife (played by akiko nishina) and while juggling with his job of social welfare in the children affairs department in city hall. i felt that as a childless couple and the job provided him a means to care and not for his own and but for other people children and the troubled ones who are neglected and left to fend for themselves. in a rare moment of rage and we see how he angrily chides such wayward parents who do not appreciate and wastes their children lives away. the story by kenji aoki provides little quirks to make its characters appeal and successfully attempted to provide a lot more glimpses and dimension into them as well and such as how takanashi is a hopeless haiku poet despite being a member of the haiku club and and supporting characters such as the aged minagawa couple and where masao (koichi ueda) lent some comical though sad moments as he slowly turned senile and while wife toshiko (misako watanabe) narrates and brings us through this love story of a single woman at 50. even akiko nishina performance as the bedridden wife was nothing short of arresting and with her character enlightened state of knowing her husband past and and making unselfish and and painful decisions in her sickly state. it what you can expect from a typical japanese romantic movie and sans young and nubile leads as star crossed lovers and but with all other elements in place such as romantic set ups and love songs and those quintessential restrained but affectionate behaviour. i thought the story was in danger of going down the beaten track when unrequited love gets consummated and but director akira ogata managed to steer clear of the usual melodramatic moments in such stories and though the story did call for some obvious plot development into the final act that you can predict and especially if youre already way past your romance movie 101. not being your average lovey dovey story and i thought the milkwoman told a strong story with unrequited love as a central theme and and frankly a recommended romance movie (though told at a measured pace) if youre in the mood for some bittersweet loving and reminiscence and and seeking to live without regrets. ---------------------------------Answer Question Below----------------------------------

Judge the movie review above, you need to make a function call:
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