Review: “Departures” is a Touching Drama
Daigo Kobayashi (Masahiro Motoki) is doing what he loves most, playing the cello in an orchestra. Unfortunately, after his orchestra is disbanded he finds himself jobless with a very big loan on his newly purchased cello. With few prospects in terms of jobs in Tokyo, Daigo decides to abandon his dream and return to his small hometown with his wife Mika (Ryoko Hirosue) where he can live in his family home for free. Looking for work, Daigo soon answers an ad in the local paper for a job ambiguously named “Departures”. He is shocked to learn that instead of a travel agency, the business deals with the “departed”. Upon first sight, the owner of the business (Tsutomu Yamazaki) gives him the job and a generous salary forces Daigo into accepting the position. But when his first day on the job involves recovering and preparing a badly decomposed corpse for a wake, Daigo realises this job might not be for him after all.
Winner of the Academy Award for Best Foreign Language Film in 2009, Yôjirô Takita’s Departures was an unexpected box office hit in Japan, all the more surprising given the fact that the subject is strongly taboo in the country. After all, it is an absorbing drama about life and loss with a minimalistic feel that doesn’t detract it from being surprisingly moving and meaningful. Takita portrays the passing of life with affection and compassion, never showing anything untasteful that might repulse viewers. We watch as Daigo’s initial revulsion for the task progressively gives way as he experiences the elegance, compassion and dignity of the death rituals which comforts the families of the deceased at one of their most difficult time. We learn about the surprisingly meticulous and ceremonious ritual that take place for the deceased before they are placed in their coffin. Despite its subject, the film is surprisingly uplifting and optimistic, signaling that death is not an end but a new beginning.
On a somewhat disappointing note, Departures is a bit uneven in terms of tone, abandoning its hint of dark comedy at the halfway point, and becoming a bit too melodramatic and manipulative in the second half. The movie also feels too “nice” and the ending is too neatly tied up. When Daigo’s wife finally realizes what he does for a living, she is disgusted and sees him as “unclean”, leaving him after he refuses to give up his job. However, she inexplicably returns a few weeks later as if nothing happened.
Masahiro Motoki gives a solid performance overall, portraying a nuanced and layered character. However he tends to resort to slapstick for comic relief which sometime felt out of place, given the overall tone of the movie. Yamazaki is splendid as the taciturn owner of the business, often able to deliver laughs while doing absolutely nothing but being present in a scene. The cinematography complements the elegance and beauty of the rituals while Joe Hisaishi’s score is beautifully melancholic and sentimental.
B
(7.5/10)
Notes: Rated PG-13 for thematic material, 130 minutes.
7 Comments
Japanese director Yojiro Takita has created a cinematic masterpiece that is both funny and sad and all the emotions in between.
I think Hirosue (who played the wife) returned because she was *spoiler for anyone who hasn’t seen the film* pregnant, wanted Daigo to know and realize that he needed to quit his job. The wife seems to step back a little bit when he says that he isn’t willing to quit the job because people count on him. The lady from the bath house dies.
It was sort of a similar reaction to his friend. Nothing really happens about their friction until Daigo needs to perform the ritual on his friend’s own mother. If it had been any other person, neither the friend or his wife would’ve been able to see what Daigo did for the family of the deceased.
My fave part, however, was the talk Daigo has with the boss about things having to die for the living to continue living. And then there was the fried chicken. LOL
Yes, I understand that she came back because she was pregnant but it’s like all the tension between the two was conveniently shoved under the carpet.
I think it might be a cultural thing. It feels like it’s shoved aside, but I think it becomes a non-issue since someone’s died. If that hadn’t been the bathhouse lady, she would’ve just gone back and left Daigo to his thing… or wouldn’t have been as considerate and made a scene, which would have added drama but it would completely rude.
I loved this movie. You’re right that the comedic tone towards the beginning is a bit out of place, but once the movie gets into the funeral house parts it really kicks into high gear. My favorite moment is when he tries to remember his father but in his mind, his father’s face is out of focus. Brilliant, simple way to illustrate a fading memory!
I loved, loved loved this movie the first time I saw it, because I was wrapped up in the beautiful music, scenery, and subject of it. The second time, I noticed the inconsistencies in tone, and I definitely did not love it as much, but it is still a very nice movie. And the score is wonderful!
I actually loved this film. I thought the tone was perfectly balanced between the hilarious and the serious. I was roaring with laughter one minute and on the verge of tears the next.
I wonder if this isn’t American sensibilities being shoved on the films. I’ve seen a number of films from the area that have this kind of hot/cold serious and funny back and forth and I wonder if it’s just too jarring for American audiences. Watch John Woo films from his Hong Kong days and there are a lot of moments that are straight up slapstick in-between heavy, serious moments of moving drama (although, I didn’t actually find Woo’s drama all that effective).
In any case, I’m glad you liked the film and I hope more people check it out.
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