Departures

Director: Yōjirō Takita

Distributed by: Shochiku

Released: September 2008

Country: Japan

My guess is that of all the foreign films I have watched in my lifetime (subtracting the Best Foreign Films), 80% have been Japanese. That’s because a few years ago I discovered Akira Kurosawa and began obsessively watching all of his movies I could find. So I was looking forward to this film to see if it would measure up to any of the great films made by him or by the other two famous Japanese directors of his era, Yasujirō Ozu, Kenji Mizoguchi. What I found was that this was no Seven Samurai or The Tokyo Story in terms of tone or scope, but was quite different, and in a good way.

An encoffinment ceremony

The story focuses on Daigo Kobayashi, a cellist with a two-bit orchestra in Tokyo. When the group goes out of business, it’s “Cello, Goodbye” for the young Daigo, and he and his and his fiancé move back to the town he grew up into in the little house he inherited from his mom. Daigo’s dad ditched him and his mom way back when, which is a detail that will become a major focus of the story later. Daigo scans the want ads for a job, and sees a cryptic one that asks for someone for “assisting departures.” Daigo assumes he will work for a travel agency, but after getting hired, he learns his new employer has bamboozled him with an epic bait and switch. Turns out the word “departures” wasn’t what he thought—it actually referred to departing from this world into the next. Daigo was unknowingly hired to assist in ceremonies of Buddhist encoffinment, preparing the body in a ritualistic way for cremation. In Japan, the vast majority of the dead are cremated, and the preparation of the body—the cleaning, the clothing, etc., was once normally done in front of the departed's loved ones. Nowadays, this is a rarity—hence, the difficulty in finding an assistant to hire.

Excuse me? You got a job doing what?

This film doesn’t neatly fit into the category of drama or comedy—the subject of death is ever present, but one can imagine the fish-out-of-water merriment that might ensue when a guy is picked off the street to clean dead bodies. And there are some genuinely funny moments, like when Daigo helps out in making a training video for future encoffinment hirees. Understandably, Daigo doesn’t want to give his pretty fiancé the heebie-jeebies, so he keeps the details of his new gig from her for a while. Oh boy, when she finds out!

Daigo soon learns that he is more talented at fiddling with dead carcasses than with the cello, and . . . . kinda likes it (weird!). But just as he gets used to his new job, he is thrown for a loop—the next dead guy on the slab is none other than his old man! Daddy issues rise to the top here, so basically this movie is a carbon copy of Field of Dreams, except we are in Japan and not Iowa, and the subject matter is encoffinment and not baseball, and just about every other detail is different.

Departures is a simple film, really. No fancy camera work but well shot, and I found the ritual scenes to be quite captivating. Again, this movie is so very different from the ones of the great earlier Japanese masters, yet it shares a theme common with them—that of a passing Japanese culture, one moving from the religious to the secular, from the traditional to the modern. It is a bittersweet theme—sad, of course, to see our traditions pass as our loved ones do. But at the same time, if we embrace the today, we can see the beauty of the new. Departures doesn’t look like the wonderful Japanese cinema of Kurosawa's day, yet it’s okay to let go and look at the modern and enjoy it for its beauty in its own right, all with respect and appreciation for the past.

Yo, Jimbo, there's more to Japanese cinema than just samurai films.

The Title: おくりびと, literally, “one who sends off.” The title is the joke, in part—the ad wasn’t for departures to another country but into the next life. But it is also about departures from what one expects of life, or from what one has held as fundamentally important, onto something different, and possibly greater.

The Culture: The dying art of encoffinment in the Buddhist tradition is shown with beauty and dignity. Whenever you learn a little thing about a culture in a movie like this, it’s an unexpected treat.

Agenda Danger: Nothing slightly political.

Best Picture that year: Slumdog Millionaire

Rating: A film with comedy that isn’t over the top and has drama at the right tone. Believe me, you are dying to see it.

Friday, December 15, 2017

My BFF Wrap-Up: My Ranking

Starting in June 2016, I watched and reviewed every winner of the Academy Award for Best Foreign Language Film, or in short, Best Foreign Film (BFF), in reverse chronological order from the 2015 entry to the awards inception in 1947 (watching the 2016 winner at the end). Part of the experiment was to see how many of these I would be able to find. In most cases, I was able to borrow the DVD of each film from the Cuyahoga County Library system (a consistently top rated system in Northeast Ohio), and as things went further back in time, that meant using the inter-library systems CCL employs, SearchOhio and OhioLINK. I did have to watch a couple on the dusty old VCR. On two or three occasions when I couldn’t find the movie through the CCL system, I was able to get DVDs from the Cleveland Public Library. Once I paid $2 to watch a movie on Amazon, and that was the grand total of money I spent on this project. I did find a couple rare films online, having exhausted every other possibility. Only once was I not able to find a film at all, at least with English subtitles, and that was 1950’s The Walls of Malapaga. I watched it only in French with Portuguese subtitles, and decided to review it anyway.

My reviews were intended for people who don’t normally watch foreign films, a group that included me not all that long ago. I found a lot of the movies worth watching, not just ones you might see at an art house, but movies I am convinced would have been mainstream American favorites had they been in English. I also sat through a lot of tedious, self-admiring crap that got awards for having the right political or social view to the voters of the Academy. But enough about The Sea Inside. My goal was to make the reviews be entertaining, especially when the movie wasn't, and to give American viewer something they could relate to.

The list here is my amateurish attempt to rank what is perhaps the unrankable. There are a variety of genres and so many different cultures represented here that it is almost unfair to compare them against each other. But I did anyway, and the films are listed below from best to worst. Click any movie title to read the review. You can follow me on Twitter at @hawley5150.

Enjoy!

1989, Cinema Paradiso, Italy

2006, The Lives of Others, Germany

1951, Rashomon, Japan

1998, Life Is Beautiful, Italy

1957, La Strada, Italy

1949, The Bicycle Thief, Italy

2011, A Separation, Iran

1975, Dersu Uzala, Soviet Union

1967, Closely Watched Trains, Czechoslovakia

1947, Shoeshine, Italy

1964, Yesterday, Today and Tomorrow, Italy

1963, 8½, Italy