The Funeral

JUZO ITAMI'S ''Funeral'' is a series of joyous contradictions. Here's a robust comedy whose subject is death, a film that is quintessentially Japanese though it recalls (without in any way imitating) the work of the quintessentially French Jean Renoir, and a tough-minded satire that is almost always sweet. The movie is about the mad scramble of the members of one affluent, bourgeois family to honor ancient traditions in a Japan that worships its high technology, fast foods, instant replays, automobiles and labor-saving appliances as much as it does its ancestors. Product Description

A wry commentary on the loss of meaning in traditions

There are times when death has been appropriate and hilarious material for a comedy. The juxtaposition of the seriousness of a funeral with wacky hijinks and hootenannies makes for funny stuff. But don't expect to find any of that in Itami's social commentary, "The Funeral" ("O-soshiki").

It is, in fact, an incredibly insightful exposition of the meaninglessness of tradition and ritual in modern Japan. A family, so far removed from the society that first created these traditions, tries to struggle though an "appropriate" funeral for the deceased father. They rent videos on appropriate greetings and responses, they hire experts to tell them what direction the coffin should face, and how many sticks of incense to light. The ritual has far more importance too the family than the actual loss of the father, as does presenting a proper face.

The elderly, as the vanguard of the traditions, are the only ones who care. In fact, the dead man's daughters are shocked and impressed when one of their father's friends shows actual sorrow at the loss. "That's the way to do it," they say. Money is the symbolism for the loss of tradition, the idol that has replaced emotion at the altar. The Buddhist priest is made a gift of Italian tiles for his garden, and the climax of the film is when a case of money opens up to the wind, and the family grasps at it desperately.

While rough in nature, and clearly a first film, Itami manages to artfully wrap these various elements together, without stating the message directly. In the Japanese style, much is implied and little is said. A particularly capturing moment, is a black and white home movie of the family laughing and having fun, while a sad lament plays in the background. The pace is slow and patient.

The critique of Japanese culture is honest and authentic, and I highly recomend this film to anyone who wants to see real Japanese people living real Japanese lives.
June 24, 2008

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