Un violoncellista disoccupato accetta il lavoro di preparare i morti per i funerali.Un violoncellista disoccupato accetta il lavoro di preparare i morti per i funerali.Un violoncellista disoccupato accetta il lavoro di preparare i morti per i funerali.
- Vincitore di 1 Oscar
- 40 vittorie e 12 candidature totali
Recensioni in evidenza
As outlined in Kundo Koyama's somewhat methodical screenplay, the story focuses on the challenge Daigo faces in finding one's place in life, no matter how dubious it may seem to others. Daigo, bereft of his passion, answers a job ad involving "departures", which leads him to believe the company is a travel agency. However, he quickly realizes the two-person operation is actually about preparing bodies for burial, ritually cleansing and cloaking them while the mourners watch. Initially aghast, he is convinced by the taciturn owner Mr. Sasaki that he is ideal for the role of assistant and offers him the job. He has to fight his own prejudices as well as others about the supposed unseemliness of his profession, including Mika, who finds out her husband's new profession and pronounces him unclean. Daigo, however, realizes he has found his passion in the pre-burial ceremony, and Sasaki teaches him the ropes in a way that recalls Juzo Itami's beloved 1985 comedy, "Tampopo".
Former boy-band singer Masahiro Motoki is genuinely affecting as Daigo, while Ryoko Hirosue brings a surprising layer of complexity to the perennially sunny Mika. The deadpan Tsutomu Yamazaki makes Sasaki the film's key gravitational element with a minimum of effort, while Kimiko Yo shows an offbeat quality as his office manager Yuriko. The cinematography by Takeshi Hamada is top-notch with some memorable images offered along the way (like Daigo playing his cello on a hilltop), and Joe Hisaishi's ("Kikujiro") music score allows dramatic sweep without getting too epic. On the downside, the film runs too long at 130 minutes, and there are moments when the comedy is played too broadly and the sentiment laid on too thick. Still, the movie shows Japanese cinema still exudes a unique identity, and there is global vitality still in that country's film industry. A brief interview with Takita is the major bonus on the 2010 DVD.
The movie started with subtle humor that had me chuckling for first hour, but I was slowly drawn into the story. It turned out to be a very touching and deep film.
The acting in this film was superb. Motoki Tomohiro's performance was especially amazing, hilarious at times, and played the serious and professional scenes very convincingly. I also really liked his narration, which really sets the mood and tone of the following scenes. Yamazaki Tsutomu was also excellent as the protagonist's cool mentor. The film had incredibly nice flow and very well-directed. Music in this movie played a huge role, expressing the protagonist's feelings and harmonized with every scene. It was simply beautiful.
This movie gave me a glimpse of the profession of "encoffiner", as a very respectable job, as it requires absolute accuracy, professionalism, and the respect for the dead even though it is looked down by the society. It is the encoffiner who sees off a person's last journey after dressing them up. This movie successfully depicts the pride in one's job, and questions the meaning of death.
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.
I guess everyone can in some way relate to the emotions that are conveyed in Okuribito. In my humble opinion this movie is a classic in the likes of Akira Kurosawa's and Yasujiro Ozu's best work: subtle, elegant, serene, soulful, touching and timelessly beautiful. This kind of cinematic storytelling stands high above the usual formula-driven, soulless, commercial Hollywood crap.
Lo sapevi?
- QuizMasahiro Motoki also learned how to play a cello for the earlier parts of the film.
- BlooperThe main protagonist (Masahiro Motoki) has his cheek cut during the filming scene. This is covered in subsequent scene. In the next scene both the covering and the scar of the cut is gone.
- Citazioni
Daigo Kobayashi: There are many kinds of coffins.
Yuriko Kamimura: 50000, 100000, 300000 yen.
Daigo Kobayashi: They differ by that much?
Yuriko Kamimura: The left one is plywood, the next one has metal fittings and carvings on both sides. And the most expensive one is solid cypress wood.
Daigo Kobayashi: Oh, the difference is in material and decoration.
Yuriko Kamimura: Yes, they all burn the same way.
Daigo Kobayashi: Same ashes.
Yuriko Kamimura: The last shopping of your life is done by others.
Daigo Kobayashi: Kind of ironic.
- Colonne sonoreSymphony No. 9 in D minor Op. 125 'Choral' IV. Presto, Allegro assai
Written by Ludwig van Beethoven
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Dettagli
- Data di uscita
- Paese di origine
- Siti ufficiali
- Lingua
- Celebre anche come
- Người Tiễn Đưa
- Luoghi delle riprese
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Lordo Stati Uniti e Canada
- 1.498.210 USD
- Fine settimana di apertura Stati Uniti e Canada
- 74.945 USD
- 31 mag 2009
- Lordo in tutto il mondo
- 74.236.951 USD
- Tempo di esecuzione2 ore 10 minuti
- Colore
- Mix di suoni
- Proporzioni
- 1.85 : 1