Departures review

Number 197 on the top 1000 films of all time is the Japanese drama 'Departures.'

Daigo Kobayashi (Masahiro Motoki)  is a failed cellist returning home to Yamagata after his orchestra in Tokyo dissolves. At a loss of what to do next, he takes the role of a Nokanshi - a traditional ritual mortician. However, he faces much prejudice due to strong taboo towards death in Japan.

This was a touching and humanistic portrayal of a sensitive subject matter. In the West, we have a similarly taboo attitude toward death so it was interesting seeing that it was the same in the Far East. A lot of this film's success rested on Daigo's character. He was infinitely relatable and sympathetic. Who out of any of us hasn't had a plan work out the way we would have liked only to find joy in something we never would have expected. Masahiro Motoki helped to bring this character to life. He played the role with a lot of nuance. And his arc was enjoyable to watch. Initially, he is reluctant to perform his nokanshi duties, but he soon executes them with grace and ease. We see the discomfort, grief and eventual acceptance all come to life.

But the same can be said with the supporting cast. Due to the taboos surrounding the nokanshi, his friends begin to ostracise him and his wife even leaves him. However, once they see his dedication to his craft, they slowly accept him back into their community. And, of course, I am only an outsider looking in, but I could see the care that the film-makers took to present Nokanshi in an accurate light. In turn, I could see the care that the Nokanshi give to the dead. The dead were treated with the dignity they deserve. Everything was treated with grace and elegance. And director Yojiro Takita perfectly captured the grieving families of the deceased.

Departures also had plenty of dark off-beat humour which was the perfect contrast to the sobering subject matter. Early on in his nokanshi career, Daigo has to act as a cadaver for an advert. There he endures a number of indignities such as wearing an adult nappy or having cotton wool stuck where the sun doesn't shine. It was a very funny sequence.

I also have to compliment the soundtrack. Departures was scored by Joe Hisaishi who has also scored a number of Studio Ghibli films, so no wonder the music was so good. It was accompanied, naturally, by cello music, played by Motoki who learned the cello especially for the part.

But my one big criticism centres around Daigo's relationship with his wife Mika (Ryoko Hirosue.) Unable to reconcile his new work, she gives him an ultimatum: his job or her. When he picks her, she leaves, only to return later with a baby in the way. And, lo and behold, all is well. This surprise pregnancy cliche was such a contrived and unnatural way to get Daigo and Mika back together. I wanted to see him struggle to win his wife back, but there was no struggle at all.

Nevertheless, this was an enjoyable film about such a taboo subject. It was so interesting learning about the traditions of another culture.