Chapter 443 He Understands Japan Better Than the Japanese

"What?" Kobayashi Michi looked at the other party in disbelief.

"Mr. Shen, this movie concerns the future of Songhe Film and your reputation as an Asian superstar. Such a hastily written script, this..." Sato is very young. When he heard that Shen Lang came up with the script so quickly, he felt that Shen Lang was giving them a shoddy script to repay them after seeing his behavior yesterday.

Although his and the president's actions did not require any reciprocation, Shen Lang's actions deeply hurt his self-esteem.

Xiao Lintong reached out to stop the young subordinate and said to Shen Lang very politely: "No matter what, we still have to thank Shen Sang for helping us!"

Shen Lang didn't care. He had experienced too many such doubts. He shrugged and said, "Why don't we read the script first?"

"Okay!" Kobayashi Tong stood up solemnly and bowed respectfully to Shen Lang, then sat down and picked up the script to read again.

The story of "Departures" is actually a very ordinary, healing and warm story.

The structure of the story continues the unique perspective aesthetics of Japanese films, which are "small but profound".

There are no big scenes, no big productions, and no need for big post-production. It focuses on a common trivial thing in life, and then discovers the true meaning of life and living.

The protagonist of the film, Daigo Kobayashi, was once a cellist in an orchestra, but in the end, due to life and coincidences, he became an undertaker.

In Japanese culture, a mortician is someone who wipes the body of the deceased, applies makeup to the deceased, and then sends them to the afterlife in a clean manner.

From being a high-class cellist to a profession that only marginalized people would engage in, although the salary was not cheap, Kobayashi simply could not accept it.

Especially since the first job I took on was to handle the funeral affairs for an elderly grandmother living alone.

Because the old woman lived alone, no one discovered her death. When she was found dead, Xiaolin followed the boss into the room. The room was stinking and the corpse was highly decomposed and full of maggots, leaving nowhere for maggots to step on.

This experience made Xiaolin want to back out, and on the bus back home, he was laughed at because of the stench coming from his body...

But because of some things, Xiaolin re-examined this job.

A boy who dressed like a girl was a transgender. His parents were arguing about this matter in front of his spirit. The father felt that his son had brought shame upon himself, but the mother insisted on putting on woman's makeup for her son to go on the journey.

In the end, through his own efforts, Kobayashi made the deceased leave beautifully and seemingly peacefully. The deceased's family burst into tears upon seeing this, and the father also changed his mind and knelt down to thank Kobayashi for helping his child to leave with dignity in the end.

The family finally reached a reconciliation in tears.

"Even if he's dressed as a girl, he's still my child!"

Usually, we find it difficult to give appropriate and full love to our lovers, family members, and relatives due to our status and face. So when the moment of farewell comes, we will feel infinite nostalgia, guilt, sadness, or regret.

As for Kobayashi Daigo, he also has regrets in his life and needs healing...

After reading the script, Kobayashi Michi slowly closed it and was unable to speak for a long time.

Sato asked anxiously, "President, what about this script? We must be careful. The company can't afford to fail again! Even if Shen Sang takes care of us, we still need to pay for the filming!"

Kobayashi Michi didn't say anything, but stared at the script in a daze, with scenes from the script flashing through his mind one after another.

Death is like a door.

Death is not the end,
But through it into the next world.

Like a door,
We are the gatekeepers.
Here I sent away countless people.
And said to them,
Have a good journey, and see you in the next life. If Xiaolin only read this line in the script, he might think it is very ordinary and normal.

But when he thought of the scenes and events in the script, and his deceased family members, his eyes suddenly became a little sore.

"Mr. Shen, I apologize for Sato's misunderstanding of you just now."

An old man in his sixties stood up again and bowed deeply to Shen Lang.

Sato looked at the president in surprise and said, "President, are you really satisfied with this script? This... Such a short time..."

Xiaolin nodded and said, "Sato, you will know after you read it."

Sato couldn't wait to pick up the script and start reading.

After he finished reading, he looked at Shen Lang with surprise: "Shen Sang, have you ever lived in Japan? There are many Japanese customs and habits in the script. I didn't expect you to know them all."

At this point, he randomly opened a page and pointed at it, saying, "In the deceased's room, hang a wooden sign with the words [Ji Zhong], with black characters on a white background!"

Many people may think that "Ji Zhong" means "being in mourning", as if someone has died in the family.
Actually, no. In Japanese culture, "Kichu" refers to the period when the deceased is traveling in the underworld, which is the period of time when relatives miss and mourn.

The days are divided into "jizhong" and "sangzhong". "Jizhong" is generally forty-nine days, and "sangzhong" is generally one year.

"Jie Zhong" also includes staying up all night, farewell ceremony, and leaving the museum, which are usually divided into two to three days.

The funeral rites in Japan are different from those in China. If a person dies at home, the body will be kept at home. If a person dies in a hospital or institution, the body will be placed in the placement room instead of being sent to the hospital morgue and frozen.

Until the day of the vigil, the deceased will be kept in their own home or in a resettlement room.

The coffin-laying process is one in which the undertaker participates. After the deceased's appearance is arranged, the process will be carried out overnight.

Therefore, just from the two words "忌中", Sato Eisuke can feel that Shen Lang's script is not shoddy, but was written after he truly understood the Japanese culture.

This is not the key point. Shen Lang's script is very consistent with Japanese culture, but the dead are gone is a common emotional value of human beings.

In other words, the angle chosen for this script is very tricky, yet also very universal.

It is wonderful that it can show the big picture from a young age and make everyone feel the cherishment of family affection in East Asian funeral culture.

Sato was completely convinced this time: "Is this the strength of an Oscar-winning screenwriter? It's truly extraordinary!"

"Shen Sang, please forgive me for my disrespect just now. I'm sorry!!!"

Shen Lang smiled and said, "After reading the script, are you satisfied with its contents?"

Xiao Lin said: "If I am not satisfied with such a script, then my eyes are blurry!"

Sato: "Mr. Shen, this is the best script I have ever seen. The cultural connotations in it make me simply believe that it was not written by a Japanese! You are really a genius!"

"So can we choose the actors now?"

(End of this chapter)