From the dead to the living. Tell him I love him, That I understand him as before, And like a ship to a foreign ship I cry at the hour I die. . . . While I changed my image, disproportionate to the severity of the Forgetting that I was, like him, handsome, I'm leaning towards the creepy-unknown abyss. . . (Constantin Balmont)
Talking about the thin line between life and death, the Japanese picture "Gone" is not at all like one of Takeshi Kitano's films, although here, director Yojiro Takita uses expressive means of collision between Eros and Thanatos, although a significant reservation should be made about the latter: Thanatos is still the will, the desire for death, and in this film it is completely absent! Moreover, the background characters of the film in every possible way distance themselves from death, do not accept it and consider it a “dirty” topic.
The Japanese were unlucky – in their pagan religion there is no clear idea of life after death. Timid attempts to go beyond the material world are limited only by strained assumptions about the “transition” into some new reality, the idea of which is almost completely absent. Fear of nothingness and emptiness must inevitably produce squeamish detachment and disgust, but these scenes (like much in this film) seem very inconclusive and even inappropriate. So what, that man works in a funeral home? Normal work. It is truly puzzling why some of the characters in the film made this a universal tragedy.
The figure of the chief, Mr. Sasaki, in some ways remained incomprehensible. He is a key figure in this picture, more suited to the role of that lost father than the role of chief. He is not only the mediator between life and death, but also the bearer of Eros, the source of life to which he no longer has access. Chief Sasaki gives the impression of a devastated man whose life and raison d’être have long since ended. He is only the bearer of the secret knowledge that he accidentally acquired. There is no doubt that his work is a burden to him, confirming once again that work chooses a person, not the other way around. Perhaps this is why he twice says he “hates himself” for cooking delicious food.
In general, food, food consumption is Eros, the symbol of sexual intercourse. The way you eat in this movie gives you the impression of craving for life, clinging to it, almost agony, approaching the last line, and that's the only thing that this tape has in common with Kitano films. A much greater correspondence here can be found with our "Oatmeal", with the only caveat that Alexei Fedorchenko is still "our Tinto Brass", that is, a director who has acquired a talent of the erotic genre, so in his film sexuality is exposed to the foreground and presented precisely through the prism of death - literally in the form of a lifeless naked body, "dead" Eros. A similar painful connection, when Eros is connected with Thanatos and becomes a destructive force instead of a life-awakening force, is presented in the film "Pathology", where you can watch scenes of animal sex in the morgue, among the tables with the dead.
In the film Takita Eros, on the contrary, is very pure and as far away from its opposite as possible, in contrast to the same films by Kitano, where they are maximally connected and presented in the present - in the act of murder, that is, death here and now. There is not a single scene of death at all in "The Gone Ones" - it remains all behind the scenes, we see only its dispassionate result. The only passion is the sublimational absorption of food, symbolizing both the triumph of life and its last moments, as its highest point, the last physiological spasm. In this context, the symbolism of such a picture as, for example, Yasujiro Ozu (if the term “symbolism” is generally applied to his ultra-realistic paintings) becomes more understandable, where food also plays a very important role.
In general, Eros and Thanatos are brought to a state of antinomy, like the concept of half-year, where winter and spring do not conflict with each other, but are one whole. The change of seasons symbolizes not only the change of cycles of being (from terrestrial to extraterrestrial), but also a more straightforward change in the characters’ characters, which reveal the best aspects as the narrative unfolds. Unfortunately, this is the weakest part of the film, which clearly lacked a really strong cast and more masterful directing. The authors, of course, managed to squeeze the maximum out of this work and the resources available for its creation - you can almost physically feel this "resting on the ceiling", which is no longer possible. This picture does not reveal to you the cosmos, as for example, "Solaris" Tarkovsky (which, by analogy, could be called "Coming"), where the main character, watching in the window the figure of his father standing in a room filled with water, realizes his wrongness in relation to him; or at least "Return" Zvyagintsev ...
The idea of the movie "Gone" is great! It is so great that it would deserve to be embodied at the hands of a master of the very first magnitude, with the same care and love as the master of the deceased conducts his ritual. But the figure of the young main character is like the figure of the director himself, and the entire film crew, as if symbolizes that nothing was better, and you need to be content with what is. However, here it is noted that this young man “created for such work” and, I must say, the work of Takita really turned out to be worthy. In many ways, the situation was saved by the incomparable Jo Hisaishi - music linked together all the elements of this canvas.
However, it is difficult to come to terms with the rare humorous episodes of this tape. At times, the stupid, clumsy behavior of the protagonist is frankly repulsive. This tape certainly lacked more tragedy, depth of experience, even pathos! All this would be more appropriate here than comic contrast or gastronomic eroticism.
There, however, the picture of Yojiro Takita, for all its similarity with "Oatmeal" makes a much stronger impression and even is able to cause tears in the final scene, which "Oatmeal" did not manage even close (and there could not be such a plan in such a devastated and depressing film as Fedorchenko's tape). The catharsis of the last scene, where one could show flying cranes or long plans for cherry blossoming, was a bit lacking... these are the little things that distinguish a magnificent work from a great one.
How diverse are people with their culture, traditions and customs. On the same planet with us live those who we understand no more than if they came to us from another planet. That is why it is so interesting to watch movies from people from the other side of the world, especially if it is about them.
The film tells about the mystery of death in Japan and related rites. The main character by chance turns out to be part of this mysterious and unlike anything else world. Japanese director Yojiro Takita decided to show the world one of the most intimate aspects of Japanese culture, which even the Japanese themselves rarely talk about and this brought him recognition both at home and around the world.
The most valuable in the picture is an interactive excursion into the funeral, ritual world of Japan without any special attempts to embellish or denigrate. It is valuable precisely for its theme and how it is woven into the plot and what morality it presents.
The film is Japanese, which means that not everyone will be accustomed to see Japanese actors, their manner of play, some techniques of the director and operator, but this exoticism should not scare away, rather attract a connoisseur of something new, unusual and original for themselves.
I would like to recommend the film to everyone who is interested in the world, other countries and cultures, as well as those who sometimes think about what death is, how to accept it and how to treat it.
9 out of 10
I am interested in the funeral arrangements. In addition to the important topic of death, the mentality of different countries and peoples is very curiously reflected in them. For example, one of my favorite TV shows is 'The Client is Always Dead': The American Approach. Benefits come first, but customers (live) will be satisfied, all their wishes are fulfilled, any whim for your money. Or the latest novel by Mikhail Elizarov 'Earth': corruption, crime and insanity. Fighting rival funeral offices almost next to the body is common.
In ' The Gone & #39; the Japanese approach is demonstrated: politeness and respect for both the dead and the living. The main character, a professional musician, who got into the funeral business after a failed career in art, first hides what he does. Then the loved ones learn and do not accept his new activities. Then they learn more and begin to treat it as it should. With respect.
The film is very beautiful - landscapes, the construction of mise-en-scene ... Sometimes it’s about things that are ugly.
The action develops slowly, the film is elegant, calm and sad. We'll all be there.
Claimed as a drama. But perhaps this is just a story about one family and a person with ' unpleasant' profession.
Everyone leaves this world sooner or later. And they have to deal with people who make sure that care goes well. Work in the funeral home is not the most prestigious, but necessary.
A young cellist plays in an orchestra in Tokyo. The owner of the orchestra announces its dissolution. The main character and his wife move to the province in a house that his mother left him as an inheritance. He is looking for a job and ends up in a newspaper ad agency. He is attracted by the words ' work is calm '. It turns out that a typo was made and was meant 'work with the deceased'. I'm not spoiling any more. Anyone who wants to see this story will see it.
It's a very unusual movie. Honestly, I watched it in 3 rounds. Very ' unpopular' the profession covered in the film. Japanese culture is like another planet. I really liked the movie though.
Tokyo. The symphony orchestra is disbanded. A young musician is left without work and returns to his small provincial town, where he spent his childhood.
And then...
You should definitely watch this beautiful, talented film if you are a lover of Japanese culture.
Megapolis and province, creativity, love, personal life. Dream, reality and everyday life. There's life, but there's death. Death as work, daily activity, ritual and art. I think the director's plan is so immense. This is a truly philosophical film in the perfection of Japanese aesthetics. Without boredom, morale and boredom.
Death is the one word that causes the desire to flee. The main character of the film.
But it's not her theme. And we who remain, but come to say goodbye to those who leave. The Russian translation of the past does not quite accurately convey the essence of the ritual of farewell to loved ones.
We say goodbye to the body, the Western version. They say goodbye to the deceased now.
The master of the ritual seems to bring him back to life briefly, as an artist or sculptor, skillfully and compassionately, with love. If birth is a creative act, a divine providence, then death must be so. It is only a “gateway to another life” (quoted in the film). The director builds a refined, truly theatrical and very chamber mise-en-scene, where, on the one hand, the closest and dearest (and we are enchanted spectators), and on the other hand, the most beautiful mystery is performed, where every movement and gesture is music.
The talent and skill of the director’s team is manifested in the fact that the unique, national, symbolic (Japanese culture) mirrors the many diseases of our modern civilization, regardless of its borders. They bring us peace, and they bring us peace. This ritual is so necessary for us now if we are still human. Yes, this is an ideal, but I really want to get closer to it.
The film is for a thoughtful, tactful, sincere viewer who came to view with an open soul ("to empty the cup"). A very chamber, kind film, in its metaphysical basis reminiscent of the “Sakura Color” by Doris Derry (2007).
9 out of 10
Being Japanese is like living with a mild mental disorder in a country where everyone has this disorder. Based on the above, it does not leave the idea that you need to have some degree of psychopathy to watch the film to the end. But given the number of followers of groups with “shock content” in social networks, people easily watched this film may be even more than those who did not watch. I will not deny that in this case, the deviation I am talking about is presented from a good side, at least moral and aesthetic. Whoever this story is about, a person or a samurai, when confronted with a phenomenon that is both natural and terrible, manifests spiritual qualities, qualities of a professional and a creator.
The film gives rise to several contradictions, the main of which is that for the cultural environment in which I was raised this film is a complete inflection. Secondly, we see a movie on this twisted topic, and in it we also show the excesses of the Japanese in relation to death.
But one must see these deviations in order to understand one’s own. And when you imagine that such a film was shot in Russia, the vomit does not keep itself waiting. A very similar feeling was caused, at one time, by the novel “The Life of Insects” by Viktor Pelevin – I wanted to spit and fuck, make plans to escape from the country and rejoice that you die only once. Is it possible to imagine a young man who has so devotedly gone into this new profession in Russia? Yes, you can. But this is no longer an easy schizophrenic, but a full-fledged maniac, Nizhny Novgorod necropolist Moskvin, also an exceptional citizen of talent.
I wouldn’t recommend watching this really beautiful, ethnographically interesting film to anyone, except that if you’re overdone or hard as you love Japan, or the psychiatrist has already given up on you, I don’t know.
6 out of 10
My boy builds coffins for the rich and the poor // Kings and queens them all knocked on his door
It was done with calmness, accuracy and above all with great love.
“Gone” is a good film for a large audience, there is also something to think about.
The whole film is a picture of the transformation of Daigo, who, stepping over the initial fear, disgust and weakness, learns a new business for himself, the skill of conducting a funeral ceremony over the body of the deceased. The film is primarily interesting scenes of the ceremonies themselves and accompanying (such classic) instructive stories. The protagonist made his way, releasing a living octopus - a symbol of immortality - at the beginning of the film, thus symbolically accepting the finiteness of life; changing his profession, becoming a master in it and, meeting with his father, closed the circle. He was no longer a slave of the past.
And #34: Do you always come here?
- 55 years old.
The answer is very Japanese. Because you never know what's going to happen tomorrow: you're going to change your cello for a job in a ceremonial office, you're going to move, you're going to start over, or you're going to leave this life. And even 55 years is not everything, not forever, but only a number of consecutive days, where you build yourself and your life from day to day.
And any work done with due diligence and respect turns into a kind of ritual that helps relieve pain and suffering for yourself and others.
After the dissolution of the orchestra, the young musician was left without work. Returning to his hometown, he settles in the Bureau of ritual services.
Noted "Oscar" for "Best Foreign Language Film", the picture Yojiro Takita ("Secret", dilogy "Wizard", "The Last Sword of the Samurai") at first somewhat discourages such a plot twist. However, the further the narrative develops, the more the hero himself, his inner world and the people around him are revealed. Behind the external asceticism and degree, the director does not hide the secrets of the universe. The tape touches on classical and, in fact, uppermost truths, but do not lose their simplicity in importance and relevance. It is a journey that is a journey for many, and a journey for many. And your vocation and inner peace can sometimes be found in the most unexpected place.
The ensemble is incredibly harmonious. Masahiro Motoki (“Long Excuses”, “Spy Sorge”, “The Longest Night in Shanghai”) lives his character with charm and sadness, demonstrating a powerful emotional catharsis in the finale. Chicken and monumental veteran Tsutomu Yamazaki ("Red Beard" and "Heaven and Hell" by Akira Kurosawa, "Judo Genius", "Funeral") as a mentor and owner of the funeral agency. Shine warmth radiant and playful Ryoko Hirosue (“Goemon”, “Forward, Masao!”, “Zero Focus”) as the wife of the hero. Shine in a small but extremely bright role charismatic Takashi Sasano (“Shot!”, “Bright Future”).
Musical accompaniment from incorruptible classics to enveloping melodies of the legendary Jo Hisaishi, who wrote scores for the works Hayao Miyazaki ("The Wind Rises", "Princess Mononoke", "Porco Rosso", "My Neighbor Totoro") and Takeshi Kitano ("Fireworks", "Kikujiro", "Sonatina", "Scenes by the Sea") creates a truly magical mood and emphasizes personal transformation.
Summary: Of course, such a specific, at first glance, the movie will not go to everyone. But those who catch his wave, waiting for the fascinating and slightly extravagant world of simple human happiness. Beautifully framed poetic film work with a very curious aftertaste.
The value of this picture to me is extremely doubtful and measured in vanishing quantities. Except for a couple of beautifully thrown phrases, the first hour (of two) is absolutely nothing. Japanese squeezing is a squeamish and weakling, disdaining the dead, thereby showing disrespect to them ... this is not our way.
The purpose of the picture seems reasonable: once again to remind us that we are mortal; to strike at the blatant attitude of the Japanese towards the dead and all sorts of stereotypes, seemingly long overdue to outlive themselves. But this is done through the identification of the viewer with GG, whose father died. I find these techniques cunning and cruel. In other words, there is an immense pressure on pity.
Regardless of this, I will give the film 5, because it contains hints of philosophical constructs (although there are no cognitive and entertaining components at all).
In this regard, I wrote a hokka "The sun set behind the abrai, >" And she dressed up to leave > In the last purchase, not chosen by her. (She is the soul. — approx.)
And yes, more in contrast than for real reasons, but I really liked the film.
I read the criticism. It turned out that he was accused of banality, family, predictability. And yes, the film is similar, and even in some ways is, a melody very smooth, without sharp introductions of other instruments (the orchestra was dissolved!), soft and unexpected in sound, when in the sounds of the cello you hear both the joyful laughter of life and the sad laughs of death. + Watch out for black humor.
However, fans of the author's film should like 50/50, no one will give guarantees. Do you like a black woman for a black woman? In the film, despite the theme, it is not. No, that's it. Although the cellist washes corpses ... in a family movie ... and yes, no blacks. Isn't that funny?
That's how it works. But also on the Japanese color, psychological narration, attention to detail and subtle philosophy.
In general, the subject of skill for the Japanese is very important. More important than in the west. The Master is the Master. If you can turn your work into art, if you were created for it, then no matter who you are, you will achieve greatness ... well, or something like that.
The whole movie is like the early spring. When the snow is still unmelting heaps there and there, but green grass is already breaking through and the sun is warming almost hot, the warm wind no longer bites, but caresses its skin with its touches and brings an unknown smell of flowers. Around the dirt, slush, still ugly, but already in the heart there is a premonition of something happy, warm, bright. The future of life, perhaps.
A person who is "practical" after watching a movie will say: "Why should you decorate a person if in a few minutes his corpse will be burned?" A man without a soul is only flesh. But is that true of his loved ones? What does this flesh mean for people around, loving and respecting what was in this shell?
The dead are what we remember. Perhaps in death, as in life, every good memory pushes you up and the bad one pulls you down. This is not a competition (" good memories come forward), there are no points, but at the end of life you will understand where and with what weight you came in the world you created.
The final ablution is the separation of our temporary abode from the soul. The ritual itself does not matter (although it is interesting), but the feelings that arise in people are a miracle. Indirectly touching death, people seem to wake up, some important part of a person is revealed, we begin to remember what the soul of a dear person managed to acquire during his stay here.
I wish when I live this life that people could just smile at my funeral (like my wife and daughters at the funeral of their husband and father in the film). I hope they can laugh at the stupid things I’ve done (and I’m sure I’ll do it yet) or remember something good or bad that I’ve done. It would be wonderful if I left a small mark on people’s souls, even though I might not care.
Everything is decided by fate, the main character experienced its quirkiness on himself. I wanted to become a cellist, but I became a cellist.
The profession itself is necessary - someone must prepare people for death. And it is not clear why this case is now so negatively treated by the majority. Aren't we all gonna die? Someone will have to prepare our bodies for the final journey, and very well if it is done not just by professionals, but by people who treat the deceased with respect. And for Japan, a country where various ceremonies are very developed, this is a very important part of being.
It is well shown how the attitude of other people to the work of the protagonist changes, as they themselves are forced to face death. And in the end, it was this work that helped the hero reconcile with his father, even after his death.
Of course, I will hardly review the film, but still he deservedly receives his own from me.
8 out of 10
When I started watching this movie, I never thought it would affect me so much. This drama turned out to be deep with an amazing, unlike anything else story. The film is filmed atmospherically, and its story is shown in an unusual, hypnotic state.
We see a young cellist looking for a job. He is in great need of work, and one newspaper ad comes to the same agency. Here he learns that it is a ritual agency. At first it scares him, but he agrees. His duties include washing the bodies of the deceased and preparing them for the transition to the other world in front of the families of the deceased. Soon, the young cellist realizes that he is doing his job.
After watching this drama, you think about it for a while. She's in the shower. I was impressed by the movie. The Japanese are able to show something out of the ordinary and extremely unusual. The whole story is filled with grief and something dark that you never touch. Seeing a Japanese farewell ceremony with a deceased person is unusual. The work of the main character is simply incredible, and not everyone could and would like to cope with it.
Previously unknown to me, the Japanese actor Masahiro Motoki after this film is well remembered. He played clean, and along with his hero we go through this story. His character has such a sad look all the time, even when he smiles. An interesting actor, I think he will wait for his next, worthwhile role. This film was warmly received by both film critics and viewers. The movie is heavy, but its story is amazing, and it has nothing to compare.
The Gone is a 2008 Japanese drama and Academy Award winner for Best Foreign Film and Best Actor from the Asian Film Academy. The film is deep, and after it you walk like in abstraction, it leaves a trace.
9 out of 10
This film reminded me that there are simple joys and really difficult stages in the life of each of us.
The film tells about the fate of a young man and his formation as a person, through such an atypical prism of death and work for modern cinema ' a specialist in ritual services' And he does it so successfully that after watching only a slight sadness with notes of gratitude to the authors of this film remains.
Everything in this masterpiece at a height, down to the random elements of the interior. I want to review the individual scenes of this movie, so beautifully shown the process ' farewell to the dead'.
From this film you can draw advice on almost all aspects of our lives, a lot of situations, so organically fit into the plot, although at first glance you do not expect to see them in such a movie.
Life turns are different. As clichéd as that sounds. But people come, people leave. The topic of the funeral in the tape did not affect me as much as ...
... a chain of life turns. You live your normal life. Going to work, using the same habits, fighting for something or just waiting, using titanic long-suffering. At some point, everything could collapse.
For example, you lose your job, then your closest person leaves you, and others do not approve of your actions in a new environment. Among other things, and you do not understand how in this situation you choose a completely extraordinary way out, well, or work. There are circumstances that push you to do this, just like life itself. You're a little uncomfortable. And yet, internally, you know you needed it. It was as if life itself saw a void in your daily activities and made harmonious adjustments. Or are they not exactly that?
After all, you start to storm like a tiny boat in the middle of the ocean, the earth goes from under your feet, as if you are all like one building tested for strength by an earthquake. What happens next?
A movie about love, which is strongest somewhere on the verge of two elements: life and death. The memory that lives in us. A movie about ourselves.
A former cellist is forced to quit his musical career after his orchestra was dissolved and return to his hometown. In search of work, he responds to a newspaper ad. The work turns out to be highly paid, but unusual - his duties include the provision of ritual services. It should be noted that the film takes place in Japanese discourse, in which ceremonies are given great importance.
It also shows the prejudices that take place in society - his girlfriend leaves him when he learns about his work, and acquaintances bypass. But when death affects their relatives, their attitude changes dramatically.
In the frame, dead fish periodically flash; food that is the corpses of animals, as the boss of the main character says, in order to create an atmosphere in the spirit of “we will all die, but this is normal”, which is quite consistent with the spirit of Shinto.
The director tried to show the changes in the soul of the main character, but, in my opinion, he made a mistake not developing the theme of the cello - he played during the film, but it did not result in anything. In my opinion, it would be a good move to make a triumphant return to the music of a man who has learned the harmony of death and life and, thanks to this, improved his playing skills. Instead, throughout the film, the theme of fathers and children is revealed - his father abandoned him as a child, but throughout the film he was constantly hinted that you can not just forget about your father, and it was under this theme that the finale played.
In this film, I was more interested not in the transparent plot, but in the peculiarities of funeral rites in Japan.
Death is a mysterious phenomenon, people relate to death in different ways, and in cinema the amplitude of opinions increases even more: the Terminator stacks up opponents, and we completely calmly contemplate hundreds of deaths on the screen, or, for example, in a drama where after the death of one person in the finale, we sob and forget that in the real world people die every second. The film “Gone” in 2008, as it seemed to me, tells about death most adequately and truthfully, it can be felt if you lose loved ones. And most importantly, this film is not about death, but about life.
Immediately striking is the excellent visual design of the film, ranging from camera angles to scenery and nature. The atmosphere is felt, winter, autumn, spring, and summer are felt, which helps to better understand the inner state of the hero, it does not distract, but only benefits the story itself. The main character, like us, who have no experience in funeral services, plunges sharply into this world. It might be shocking, but it is presented without excessive grotesque, with appropriate humor, without breaking the serious main idea of the film. The delicate balance between moments that cause a smile and moments that make you think about what happened. In the film, we see the usual grief of relatives, quarrels right at the coffin of the deceased, a little indifferent, caused by habit, but still respectful attitude of the Boss to the dead, dissatisfaction of the wife of the main character with his profession - absolutely nothing supernatural, but the skillful combination of these events, ideas and meanings in conjunction with thoughtful viewing, allow to feel in the soul and in the mind the pronunciation. There is also the theme of some heroism — no one wants to take on this kind of work — the coffin position, everyone despises people like our hero, but if not him, then there is hardly another person in the whole city ready to do this. He cannot betray the trust of his boss, gradually he becomes a master in his business and we see how people who once scolded him, imbued with respect and repent. The theme of heroism manifests itself through the wife of the hero, she is initially set to do everything to make her husband feel good, sometimes it seems that the main character is not quite worthy of her. But she learns the truth about her husband’s profession, and then we see that in fact, every infinite virtue has its limit, and here comes the fatal choice for her. And if you think more globally, the heroism in the film we see in the eyes of ordinary people, escorting their loved ones to the afterlife. "It's always harder to stay here," says the boss. That’s the main heroism in this film – to continue to live, to stand on their feet. The main message echoes the idea of the film “Live” by Vasily Sigarev, but the feeling after watching is diametrically opposite, of course, in favor of the film “Gone”, after which the soul not only does not become blacker, but on the contrary is purified. The most important merit of the film is that after it you want to live even more, you want to run to your loved ones and hug them again, realizing your great happiness. At the same time, death appears a little more understandable, if at all possible.
The film is made masterfully, Japanese cinema proves that the Kurosawas have not yet been translated into Japanese land and not only in anime they are able to create real touching works. Balance in the film is observed wherever necessary. The idea and spiritual content of the film is conveyed perfectly, not obtrusively and not too veiled. There are many more good things to say about this film, about philosophy, but I would rather say it again, because the most important characteristic of "The Gone" is not a film about death, but about life.
9 out of 10
The Gone (??) is a 2008 film directed by Yojiro Takita. Oscar for Best Foreign Language Film.
Speaking of contemporary cinema in Japan, it is difficult to imagine a multi-level complex drama in which the viewer does not sit and shed tears. Hypertrophic emotions are characteristic not only of anime (Japanese cartoon) and dramas (Asian series), but also of full-length films.
In almost every Asian film that has the tag “drama”, always someone dies, and sometimes dies, but then escapes against logic.
A peculiar “love” for the death of the main character among the Japanese is understandable: if a person during his life undergoes torture, bullying and eventually dies, then everything will be wonderful and joyful in the next life. Therefore, the death of the hero is perceived philosophically, but the headscarves by the end of the film show are still moistened. Interestingly, for the Japanese, such a scarf outcome is one of the main criteria for assessing the film: the stronger the emotional intensity, the more tears and cries of women, the better. Of course, you need to understand that we are talking about the average Japanese who does not watch Lynch, Schwankmeier, or Bergman.
But when a film is released, in which there are no tears or women's screams, the Japanese audience experiences 100% cognitive dissonance.
It is worth paying tribute to those directors who are not afraid to leave the canons and stereotypes in which Asian cinema is mired, because such a step can completely fail the picture in the East. And who knows how many masterpieces Europe has lost over the decades.
Yojiro Takita, a little-known director, both in Japan and abroad, released his film in 2008 - despite the fact that the premiere was successful, it did not receive much response.
But since the nomination of the picture for the Oscar, the situation has changed dramatically. I note that the last Japanese Oscar-winner was Hayao Miyazaki back in 2003.
So what's the big deal about this movie? Who are the "Gone Ones"? Why do I even write about it?
First we respect Yojiro.
Takito-san’s creative path was typical for the Japanese director: from “kinku eiga” (a film of erotic content) to black comedies and commercial mainstream cinema.
But what prompted the director to shoot, one might say, an arthouse film for Japan, remains a mystery. I note that the original idea of the film belongs to the actor Masahiro Motoki, who played the main role in the film.
A few words about the film, but what a “couple of words” who am I kidding!
The film tells us about the average cellist Daigo, without much talent and some inner core - a little insecure, but honest and selfless. A typical Sarariman musician, so to speak, he buys himself an expensive cello on credit, but after one of the concerts he learns that the orchestra is disbanded.
Together with his wife Mika, they move from the capital to a small town where it is simply impossible to find a job for a musician.
One day, while flipping through newspaper ads, Daigo notices a small ad for a high-paid job. Without thinking twice, our musician runs for an interview, having no idea about the work.
Entering the office, the first thing he sees is an attractive middle-aged woman, and behind her ... coffins, many coffins.
As you can guess, Daigo is offered the job of nokancy, whose duty is to prepare the dead for burial.
The work of nokansi is considered the least respected in Japan, people of this profession are tried to avoid and sometimes even ignored. In Russia, perhaps, the attitude is somewhat simpler, but the topic of burial few will cause awe.
Returning to the film, I want to note that each frame with ritual ceremonies is saturated with respect, self-esteem and undoubtedly high professionalism of the nokancy.
For those who are interested in the thesis: the film raises the themes of professionalism, creative crisis, spirituality, biased attitude, death is life, and life is death – breaking stereotypes you provided.
I'll stop there.
I want to say a few words about personal perception: I belong to the category of people who believe that they are not afraid of death, do not feel disgust for the dead and lead a very abstract existence in an environment of “disgusting and decaying”. But after watching this movie inside everything turned upside down. Some kind of self-pity, fear of death and aversion to corpses were exposed - all this deeply struck me, the perception of death was transformed, and another stereotyped wall of perception of the world around me was destroyed.
I’m not going to recommend the film, but I’ve been thinking about it for a month, and just now I’m going to write a short review, trying to fit in the small print in two pages.
The film is woven from an invisible and barely perceptible concept of creativity and professionalism in everything. Slowly and carefully, he clears the mind and turns you in front of himself, deftly wielding the tools of the subconscious.
One thing I can say is that after watching this movie, you will not be able to forget it the next day.
Everyone will find their own characters in this film. It is such a movie that gives us the opportunity to stop and think, to reflect on our actions, people around us.
A film about the power of love, mutual understanding and the ability to forgive and accept people as they are.
Absolute absence of vulgarity and vulgarity! There are moments in which the actions of the heroes, as it were, idealize, but all in order to awaken the viewer’s most hidden, kind and sincere feelings.
Rarely sentimental melodrama despite the fact that the first part of the creators held and extremely tactfully showed the accompanying organization of the funeral business realities, avoiding completely black humor and unpleasant realities associated with the costs of the profession. In itself, the demonstration of the delicacy of the ceremony of washing and embalming the body, the majesty of observance of rituals cannot but cause great sympathy and emotional response is especially comparable to how it all happens in our country. Hisaishi's music works perfectly for a tear-organizing atmosphere. A good film about the conflict of good with the best, about the fact that there are no bad people. Spirit-lifting. The director feels the rhythm and has the gift of building a frame.
To be fair, this is not an art in terms of studying and researching society. It is correctly noted that good intentions in themselves do not make literature good, well, this applies to cinema. Leaving aside the emotional component, the film is ideologically, on its viewing aesthetically not so that enriched. It is extremely noticeable that when creating the script, a lot of ready-made stamps and blocks were used (a son who does not care about the mother, crying on her deathbed, a repentant mother who abandoned the child, an abandoned child who forgives parents, etc.). Along with the theme of aestheticization of the passing of life, in parallel, the creators also used the line of the hero’s departure from the metropolis to the deep province, where moral revival is taking place. A familiar genre, in Soviet times actively used in our country (now hardly anyone has enough cynicism to make a film about the possibility of a rural idyll against the background of the realities of a drunken and rotting Russian village). A sentimental melodrama without a love line is in itself a rarity than the film “The Gone” is mainly and remarkable.
6 out of 10
I saw this film when I was not interested in Asian cinema.
I just couldn't get past it.
Why did I like this movie? Celo play, tranquility, beauty of frames, irony and beautiful philosophy. Agree, films, in the center of the plot of which - the preparation of the dead for the funeral - very few. It was interesting to see how it was done in Japan. It turns out that this is a whole art.
There's a lot of stuff in this movie. How the hero gets used to the bodies of people, the attitude of others to this “ungrateful” work, the relationship of the hero with his wife.
Despite the fact that the film about the funeral is a very bright and pleasant movie.
Yeah. It is impossible not to mention the most beautiful music... The way the main character played the cello was just fascinating.
A special thank you to the operators.
A teacher in medical school decided to show us "The Gone Ones" while we were going through the thanatology. From the first minutes, the film caught everyone with its incredible atmosphere and... beauty. The creators have shown with amazing skill that death, like life, must be worthy, that it is an integral part of our existence.
Despite the fact that the film is philosophical in nature and deals with such a topic as death, its viewing takes place in one breath. Everything that happens in the film amazes with its naturalness and simplicity of life. It teaches us to respect the dead and, above all, to do our duty to them. It is difficult to describe the impression the film makes. I think everyone will have their own.
Finally, I want to note that the film is permeated with the fascinating sounds of the cello, even more immersive in the overall atmosphere.
10 out of 10
This drama was awarded the Oscar for best film in a foreign language, received 10 awards from the Japanese Film Academy and more than 20 international prizes.
The plot is predictable, but it's not about him. A young cellist loses his job in the orchestra, he and his wife are forced to leave the big city for their native village, and there he begins to look for work. An incomprehensible newspaper ad leads him to a funeral agency, and with Japanese fatalism, the guy begins to prepare the dead for burial, but he does not tell his wife about his work. The new work, obviously, becomes for him a means of self-realization and meditation.
The film is interesting primarily because it demonstrates Japanese customs, rituals, behavior, communication with each other. Japanese fatalists: when a guy finds out that he got a job in a funeral home, he immediately wants to leave, but the owner tells him “I was waiting for you, this is your fate”, and the guy agrees – yes, indeed, fate. It is striking the extreme respect with which Japanese adults communicate with each other, their restraint and caution. Sometimes this restraint looks like a little tightness, but when I watch the film, I am convinced that I would like to be born in Japan.
The film “Gone” does not want to call a beautiful picture, although such a definition begs for immediately after viewing. The story of a cellist who lost his job in an orchestra and was forced to return to the province in his father’s home. The search for a job, which led him to a special bureau, which is part of the funeral home. His job is to prepare the dead for the coffin. Conflict with a wife who does not want to put up with such work husband, because the dead in many religions is unclean. And the film at first seems to agree with the claims of the young wife of the hero. He gets into a comic situation with the filming of the ritual of ablution, where he is forced to portray the deceased. Then a two-week-old corpse of an abandoned old woman is washed, causing disgust and physical rejection. And then the director leaves the colored chalk aside and takes watercolors. Death is a transition, preparation for it is an action. The action is strict, solemn and harmonious. The deceased is like a precious vase that needs careful restoration. The fabrics with which they cover, straightening every time all the folds, washing, taking place in the circle of relatives and friends in such a way that nothing physical, earthly touches the eyes. Careful neat and respectful movements of the master of the ceremony, wearing a kimono, laying out his hands and finally decorating his face. The face... what will remain in memory as the last moments. Smashing of the face, if you need to put cotton swabs in your cheeks so that your cheeks do not sag, stroking movements, like the last thank you and goodbye. These stroking facial movements are the most beautiful part of the film in my opinion. I would even say his quintessence. The face is like an icon, the face is like the soul, the face is like the universe of man.
Touching love fingers to the face, soft trembling pillows, barely touching, give more information than any other touch. Loving hands in front of your eyes - do not be afraid, I am close. Face in the palms - your world - my world, we are together. Or just a finger delineating the lips of a loved one - tenderness and recognition on a secret level. Farewell touches to the face ... you are dear to us ...
The master of the ceremony facilitates loss, the ritual gives not only purification, but peace and tranquility.
With watercolor strokes, the director draws fitting ... life and death, parents and children, husbands and wives ... all offenses are forgiven, everything superfluous goes away ...