Fixating itself on the pretext of death as a strong stigma to the Japanese rather than on the necrophiliac titillation possessed by those outside this particular societal circle, "Departures" approaches this issue with credible poignancy made more relevant when seen as a mitigation by director Yojiro Takita and screenwriter Kundo Koyama to a prevailing Eastern taboo. Although slightly undercut by an ultimately predictable script, Japan's Oscar-winning entry for this year's foreign-language film category is thoughtfully expressive, portraying a morbidly incriminating profession with dignified grace.
Daigo (Masahiro Motoki) is a cellist for a symphony orchestra which disbands after a performance for failing to gather audiences. Having no job, he and his wife Mika (Ryoko Hirosue) move to his hometown in his deceased mother's house where, upon answering a help-wanted ad he mistakes for a travel agency, he ends up as "encoffiner"-in-training, helping his boss Sasaki (Tsutomu Yamazaki) perform a set of ceremonial rites for the dead before cremation. Aware of the social demonizing of such job, he lies to his wife about it until she learns of it anyway and pleads that he finds a "normal job," an appeal he finds tough when he increasingly develops a meticulous fondness for his work.
Takita's charming and ultimately touching apologetic on mortality charts the disorderliness arising from an individual's social circle while he pursues his sense of purpose, with the titular itinerary suggesting more than the moribund ritual the film's protagonist is subjected to. Thus, it also becomes a plaintive meditation on Daigo's spiritual and moral development as he attends to the various abandonment issues that haunt him (a father who ran off when he was young and a wife that stigmatizes him for his newly found "filthy" career). Ultimately, "Departures" is as much a story of atonement as it is about dealing with mortality; that in order to fully embrace one's existence, it is necessary to cope with death -- both literally and figuratively -- while nurturing the bonds that exist among those who still live.
Daigo (Masahiro Motoki) is a cellist for a symphony orchestra which disbands after a performance for failing to gather audiences. Having no job, he and his wife Mika (Ryoko Hirosue) move to his hometown in his deceased mother's house where, upon answering a help-wanted ad he mistakes for a travel agency, he ends up as "encoffiner"-in-training, helping his boss Sasaki (Tsutomu Yamazaki) perform a set of ceremonial rites for the dead before cremation. Aware of the social demonizing of such job, he lies to his wife about it until she learns of it anyway and pleads that he finds a "normal job," an appeal he finds tough when he increasingly develops a meticulous fondness for his work.
Takita's charming and ultimately touching apologetic on mortality charts the disorderliness arising from an individual's social circle while he pursues his sense of purpose, with the titular itinerary suggesting more than the moribund ritual the film's protagonist is subjected to. Thus, it also becomes a plaintive meditation on Daigo's spiritual and moral development as he attends to the various abandonment issues that haunt him (a father who ran off when he was young and a wife that stigmatizes him for his newly found "filthy" career). Ultimately, "Departures" is as much a story of atonement as it is about dealing with mortality; that in order to fully embrace one's existence, it is necessary to cope with death -- both literally and figuratively -- while nurturing the bonds that exist among those who still live.