The obvious question

Rating: Null/10 (24 March 2009)

Unless I'm mistaken about the statistics I looked up, "Departure" is the first Japanese film ever to win the Best Foreign Language Film in Oscar. "Rashomon" received the award in 1951 under a different format, where there were no other nominees. The current format of having 5 nominees started only in 1956 ("La Strada" from Italy won that year).
Right to the point, the film opens with scene of "casketing" showing the protagonist Diago Kobayashi (Masahiro Motoki), under the supervision of his mentor Ikuei Sasaki (Tsutomu Yamazaki), at his professional service of preparing the body of a deceased for the coffin. Through this, and many subsequent similar scenes, the audience gradually comes to appreciate the noble nature of this profession. From this scene, which is picked up again at about three-quarters into the film, we see a flashback cut to a performance of Beethoven's Ninth right at the beginning of Odes to Joy, with Diago as a cellist in the orchestra. As the story unfolds, we see how he loses his job when the orchestra folds from financial difficulties, how his devoted, loving wife Mika (Ryoko Hirosue) accompanies him to the countryside (his birthplace) to start a new life, and how he inadvertently gets into this unusual profession.
If not initially, the audience will soon be moved by the utmost tenderness and gentle love in preparing the bodies for the coffin. It is not just skill and art; it is also a ritual of honour and respect (it is performed in the presence of the gathered family). One man who is furious at Ikuei and Diago for being late runs to catch up with them as they leave at the end of the job and, with tears in his eyes, thanks them for making his departed wife look more beautiful that she had ever been.
Unfortunately, this is not only a misunderstood, but also a despised, profession. Friends avoid Diago. Even Mika, who is the most wonderful wife that any man could ever hope for, stands firm on this issue, leaving him until he gives up his job. He holds steadfastly onto his professional integrity. Finally they get a chance to see him at work, preparing the body of someone they all know and love. This is a most touching scene when they come to understand, accept and respect him and his noble profession.
While the main theme in itself is engaging enough, this film is rich with other stories that are close to our heart. And while Motoki and Hirosue are simply marvelous, there is a support cast that is equally wonderful. Most mesmerizing is Yamakaz playing the master who teaches Diago not only technique and art, but also life. All the minor character are memorable in their own way.
This film is shot with meticulous care on details. Consider the scene when Diago tells Mika that he has lost his job as a cellist. Naturally she tries to comfort him. Then she turned to go into the kitchen to prepare supper. In those two or three steps with her back towards the audience, we see her taking a barely discernible little skip step, as if to tell herself to cheer up. Regardless of whether it is Hirosue or the director, it show how much tender loving care has been put into making every shot. Similarly for the music. There is a scene when Diago plays a languid cello solo at home, reminiscing his childhood days. The scene ends in breathtakingly beautiful shots of the countryside, with a seamless transformation of the on-screen cello solo into background music, concluding is a beautiful string of notes from an accompanying piano.
"Departure", among other things, examines the subject of death. "Les invasions barbares" (2003), another Oscar Best Foreign Language Film winner, heartbreakingly depicts the frustration, agonies and helplessness of death. "Departure", however, approaches this somber subject with a positive and encouraging look. It is not "farewell forever", but "till we meet again".
This brings me to my summary line, "the obvious question", something the audience would be reflecting on when they emerge from the cinema. If so much love and tenderness goes into preparing the body of the dead, should the living not deserve the same thing?