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DEPARTURES (OKURIBITO )(4)(原文)

DAIGO AND THE QUEST OF THE FATHER

Well, here we spoil the contents of the film letting the reader know the end, but since our purpose is not recommending it but digging into its meaning we have to go further.
Daigo will eventually perform the whole drama for himself, his wife will be present but the ritual will not be performed for her, she will only be the witness of her husband’s own catharsis. Seen from this perspective, this scene, criticized for its melodramatic contents and for relying too much on easy coincidences makes ‘Departures’ a most serious film.
It all happens as if every accident of Daigo’s life, the dismissal from the orchestra, the return to the native land, the discovering of his real vocation as a nokanshi, had led to reencountering his father. There was only one way he could meet again the father who had forsaken him, and this is as a cadaver; the psychoanalytic reason would obviously be because the father had already been dead in his unconscious since the moment the man had abandoned the six year old boy, this is why Daigo could not remember his face. The picture of the father only becomes distinct when the son performs the whole ritual as a nokanshi, he brings his father back to life for an instant, then he sees him clearly and thus expresses his pain, for the abandonment and for the death of the father, a separation repeated twice at the same moment, and then the son lets the father go, he can mourn him now.
Much can be said about this unique moment where Daigo possesses his father one hundred per cent, we will not go that far; he had repressed the pain of his progenitor’s absence, the desire he had repressed of meeting him. The message might be that we can only let things go when we apprehend them, ephemeral as they can be, like the tradition of sakura no hanami in Japan.

和文はコチラ

by xavier_astro | 2009-05-04 00:00 | 映画  

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