Departures (2008) おくりびと
12/10/2010 Leave a comment
Director: Yōjirō Takita
Running Time: 131 minutes
Starring: Masahiro Motoki, Ryoko Hirosue, Tsutomu Yamazaki, Kimiko Yo, Kazuko Yoshiyuki, Takashi Sasano
Ratings: IMDb.com: 8.1/10 | Rotten Tomatoes: 81% | Metacritic.com: 68/100
2008 Hawaii International Film Festival
2008 Montréal World Film Festival
2009 Palm Springs International Film Festival
2010 Pacific Rim Film Festival (Santa Cruz, USA)
2010 Borderlines Film Festival (Hertfordshire, UK)
2009 Academy Awards: Oscar for Best Foreign Language Film (controversially beating hot favorite Waltz with Bashir)
2009 Asia Pacific Screen Award: Best Performance by an Actor (Masahiro Motoki)
2009 Asian Film Awards: Best Actor (Masahiro Motoki)
2009 Awards of the Japanese Academy: Best Actor (Masahiro Motoki) / Best Cinematography / Best Director / Best Editing / Best Film / Best Lighting / Best Screenplay / Best Sound / Best Supporting Actor (Tsutomu Yamazaki) / Best Supporting Actresss (Kimiko Yo)
2009 Blue Ribbon Awards: Best Actor (Masahiro Motoki)
2008 Hawaii International Film Festival: Audience Award for Favorite Feature
2009 Mainichi Film Concours: Best Film, Best Sound
2008 Montréal World Film Festival: Grand Prix des Amériques
2009 Palm Springs International Film Festival: Audience Award for Best Narrative Feature
2009 Yokohama Film Festival: Festival Prize for Best Director, Best Film, Best Supporting Actress (Kimiko Yo; Ryoko Hirosue)
2009 Asia Pacific Screen Award: Best Screenplay
2009 Awards of the Japanese Academy: Best Actress (Ryoko Hirosue) / Best Art Direction / Best Film Score
2010 Hong Kong Film Awards: Best Asian Film
Departures (2008) by Yojiro Takita won the Oscar for Best Foreign Language Film in 2009, thus thrusting the otherwise humble film about traditional rites and rituals of death and funeral processions into international limelight. Much unlike the hot favorite nominee of that year, Ari Folman’s Waltz with Bashir (2008) that created waves in the film festival circuit, Departures (2008) was not picked up by any of the Top Three film festivals in the world, such is the nondescript, low-key nature of the modest production. Its stoic sentimentality borders on calmness and tranquility, even in the face of death. The underlying emotional currents will thus land the greatest impact on anyone who watches the film, which is also based on Aoki Shinmon’s autobiography Coffinman: The Journal of a Buddhist Mortician.
There are no pretentious effects or fancy cinematic techniques. Everything is portrayed in its barest stripped-down beauty that does not steal attention away from the core subject of death and moving on. And it would take someone with a heart of stone for the story to not tug at the heartstrings by the third quarter of the film.
The protagonist is an ex-cellist in Tokyo, Daigo Kobayashi (Masahiro Motoki), who moves back to his hometown with his wife Mika (Ryoko Hirosue). He falls for a cleverly-worded advertisement for a good-paying job seeking assistants for “departures”, and goes for an interview uncertain of what to expect. Comic relief is provided in the earlier parts of the movie with Daigo acting as a corpse for a DVD explaining the embalmment process. His first assignment involved a lonely old woman who has been dead for two weeks. While Daigo becomes more experienced, the sense of gratitude of the survivors of the dead gives him a sense of accomplishment in the job. But social taboos kick in as his peers started to ostracize and humiliate him for his “disgusting” profession. Yet the honor and respect of the profession finally shone through in a redemption only possible when he performs the rituals in front of his family when a family friend passes away. Daigo bears a grudge against his father, but when he dies Daigo was meant to prepare the body. The finale scene was emotionally affective, and it symbolizes Daigo coming to terms with the death and finally seeking closure to the innate hatred. It is ironic that Daigo has to give up his big-city dreams and reclaims his sense of his roots in the small-town context. Director Takita exercises restraint in sensationalizing the event, opting instead to show death as a commonplace cycle of life rather than flirting with it as a denouement or melodrama.
The topic is fresh as the hardly-understood profession takes centerstage and the movie is relevant in according morticians the transcendent respect amid cultural condemnations. No one likes dealing with death, and for someone to have to meet death face on everyday is no mean feat. The solemn film is able to straddle the balance of lamentations and regret of what could have been, with that of laughter—as the death of someone is clearly in today’s society taken on communal importance as people visit the funeral to pay their last respects, and this cuts across cultures. And it is with this positivity that the movie attempts to bring forth the positivity that might surround death. A euphemism for “death”, the title Departures hardly counts for a negative word especially when it primarily refers to the act of leaving for new places. Regardless of whatever cultural or religious beliefs you subscribe to, dying is a natural act of moving on, whilst the living—following a prolonged process of grief, denial and coming to terms with the unfortunate situation—learn to do so as well.