After winning the grand prize at the Montreal World Film Festival and the bid to become Japan’s submission to the best foreign film category in the Oscars, Okuribito (『おくりびと』, English title: Departures) is fulfilling the promises of its ad copy to become the best film of the year. A sweeping fish-out-of-water tale depicting the esoteric practices of the Japanese nōkanshi (納棺士) — an undertaker who places bodies into coffins at funeral ceremonies — the film’s warmhearted depiction of death may have appealed strongly to older audiences, who no doubt helped the film’s box-office figures surge past ¥2.7 in sales (as of Nov. 2). But while director Takita Yojiro’s Okuribito may be Shochiku’s nod to the popularity of the nostalgic weepie — previously revived by the Always: Sunset On Third Street franchise — the former can be argued to be an escapist, fantasy picture geared towards disenchanted, young Japanese urbanites. As the effects of the country’s aging population and declining birthrate manifest more sharply in Japan’s rural areas, Okuribito makes a pretty convincing case that young aspirants may want to head for the countryside in search of love, comfort, and even dignity.

Okuribito’s hero, Kobayashi Daigo (Motoki Masahiro), begins as a professional cellist, the kind of passion-over-practicality man-child that epitomizes the post-Bubble generation. His dream is shuttered when his orchestra disintegrates due to financial problems. With no way to continue living in the city, let alone pay off the substantial loan he has foolishly racked up for a cello he cannot afford, Daigo sells his beloved instrument and packs up his post in Tokyo with his wife Mika (Hirosue Ryoko). Yet what awaits them in Daigo’s home city of Sakata, Yamagata Prefecture is far from disillusionment and resentment. Daigo and Mika fall into the loving embrace of the lush Shonai plains, and neighbors welcome the arrival of the young couple, doling out comical idiosyncrasies and words of wisdom like delicate morsels of food. Although Daigo is oblivious to the real destination of the “departures” when he answers a want-ad for a “travel” agency, he ends up finding himself a life-affirming career ushering people to the afterlife.

In the film Daigo and Mika fit the mien of modern-day married couples in their late twenties to early thirties. Mika, introduced as a web designer can work from anywhere, keeps up her job in Yamagata, now punctuated by breaks in her front yard where she breathes in the fresh air wafting from the snow-capped mountains. Daigo, though seemingly bothered by a dream cut short, is emblematic of his generation in that he knows how to temper his ambition so as not to let it distract from his wish to go with the flow of life. The peculiarity of Okuribito is found in the couple’s smooth transition to the countryside — not one complaint about a lack of city-like convenience or stalled Wi-Fi installation. Plenty of films in the past have espoused the regenerative effects of small-town warmth and humility. Western films in the vein of Lonesome Jim, Elizabethtown, or Garden State often include young men defeated by big cities, whose resistance to their hometowns is slowly chiseled away until the day they are rejuvenated enough to head back. Yet Daigo and Mika are unique in their willingness to surrender and to settle. In a scene where Daigo parts with his cello in a store in Tokyo, he admits in a voice-over: “As soon as I sold off my cello, I felt as if a weight had been lifted.”

Okay, Okuribito may be a fantasy, further evidenced by the kind of environment, people, and careers the film showcases as the bounties of rural life. The home that Daigo and Mika inhabit is not an old-fashioned nagaya row house but a jazz café-turned-izakaya owned by his late mother, where choice LP records and exposed wood beams create a stylish atmosphere. During the location scout, director Takita and his crew scavenged the Yamagata prefecture for “things that will eventually pass on,” and the result is a film with strategically placed anachronisms like old bathhouses. When Daigo finds his worn, kids-size cello in the house and starts playing it against the sprawling mountainscape of Yamagata, one becomes convinced that the Joe Hisaishi’s scoring has never sounded better.
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Bandō Mariko’s book Dignity of Women『女性の品格』 may be piggybacking on the immense popularity of Masahiko Fujiwara’s 2005 bestseller The Dignity of the Nation 『国家の品格』 but the former somehow manages to discuss the abstract concept of “dignity” in a way that avoids diatribe and provides practical information for the reader. A self-help book for women who would not admit to reading self-help books, Dignity of Women offers Japan’s second sex a total of 66 to-do lists for becoming a “strong, kind, and beautiful woman.”

A Tokyo University graduate, author Bandō Mariko’s first-rate credentials are the key to establishing the credibility such an authoritative self-help book requires. She led a 34-year career as a civil servant, beginning in 1969 at the Prime Minister’s office, while commanding a role as a working mother and a behind-the-scenes champion of women’s rights in the male-dominated world of Japanese politics. In addition, Bandō served as General of the Bureau for Gender Equality and Consul General to Australia before taking on her current position as professor at the Graduate School of Showa Women’s University. In other words, Bandō perfectly embodies the kind of woman that tickles the fancy of successful young career women. Yet rather than writing a biographical success story about being a professional woman with an indomitable spirit, Bandō has instead concocted a guidebook for the modern woman with a single crucial point: just because you may reach the very top tier of Japanese society populated mostly with “undignified” businessmen that doesn’t give you the right to start acting like them.

Ms. Bandō begins her book by recognizing the existence of the aforementioned The Dignity of the Nation but argues that dignity of an entire nation is not attainable without the dignity of every individual belonging to that nation. While she admits that courage, responsibility, sense of logic, integrity and resilience are attributes that must belong to dignified men and women, responsibility for the dissemination of dignity falls on the female.

Bandō’s tutelage is divided into behavioral and philosophical tactics, and it is the combination of the two, she writes, that brings about true dignity. The seven chapters — entitled “Manner and Dignity”, “A Dignified Way to Speak”, “A Dignified Way to Dress”, “A Dignified Lifestyle”,“A Dignified Social Life”, “A Dignified Behavior”, and finally, “A Dignified Way to Live” — can be grouped systematically into those that apply to a woman’s professional life and those that apply to a woman’s personal life. The over-usage of the word “dignity” on every page, however, quickly becomes grating, especially since a brief scan through the first few lessons is really all you need to comprehend what a dignified woman would and would not do. Throughout the course of the book, the dignified woman reveals herself to be a female social organizational construct as palpable as fashion subcultures like Kogyaru or O-nee-kei.
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