Senza coesione
Partiamo dicendo subito che si tratta di un buon titolo, ma che sarebbe difficile definirne il genere. Non si può dire che sia un drama di azione, né un poliziesco, né che sia particolarmente psicologico, e certamente non umoristico. Vogliamo dire che è drammatico? Ma solo fino a un certo punto.Abbiamo questa strana agenzia che si occupa di cancellare i dati dai dispositivi elettronici delle persone che decidono di far scomparire alcune informazioni alla loro morte. Già qui, se vogliamo, si inizia a capire che la storia in sé pecca di plausibilità. Chi mai pagherebbe per fare una cosa del genere? E perché attendere la propria morte, quando se vuoi cancellare qualcosa puoi farlo in qualsiasi momento? La nostra agenzia è formata inizialmente solo da un disabile in sedia a rotelle, cui poi si aggiunge un giovane che vive di espedienti. Da quel momento i file, invece di essere cancellati, vengono praticamente sempre indagati per capire cosa ci sia sotto e aggiustare dei torti, tanto che alla fine le cose volgeranno in malo modo, almeno relativamente.
Otto episodi possono essere pochi o tantissimi, dipende da cosa ti fanno vedere. In questo caso assistiamo a una serie di casi, anche umani, completamente slegati fra di loro e tenuti insieme solo da un filo sottilissimo che è l'idea dell'agenzia di dele.life, che si occupa appunto di cancellare informazioni scomode su richiesta dei proprietari al verificarsi di certe condizioni.
D'accordo, assistiamo durante gli episodi al crescere del rapporto tra il titolare e il ragazzo tuttofare che viene assunto per aiutarlo. Il rapporto che diventa col tempo di reciproco rispetto e amicizia mentre entrambi si aprono l'uno verso l'altro potrebbe essere considerato il filo conduttore di tutto il drama, ma è un po' poco.
Quella che poi è veramente anomala è la qualità della cinematografia, veramente altissima, che sinceramente appare quasi sprecata per il tipo di serie che descrive.
Anche la performance di alcuni attori è di ottimo livello. Suda Masaki, già visto nella parte del cattivo in MIU 404, rende qui con molta efficacia l'interpretazione di un personaggio completamente diverso: è il ragazzo tuttofare che viene assunto per indagare se i clienti dell'agenzia siano o meno defunti. Yamada Takayuki, che interpreta il titolare invalido dell'agenzia, non mi ha però entusiasmato più di tanto, anche perché l suo personaggio è introverso e poco dimostrativo. Aso Kumiko, la sorella del titolare, chiude degnamente il trio degli attori principali, ma anche tutto il cast secondario, che recita in un solo episodio, si è fatto ben valere.
I misteri da risolvere sono a volte fin troppo prevedibili, ma ci sono alcune scene di azione molto ben girate, e non solo dal giovincello, ma anche dal titolare in carrozzella che riesce a insegnare a fior di bulli che un invalido non è necessariamente impotente, anzi.
La colonna sonora è molto varia e spazia per una moltitudine di generi musicali ben sottolineando l'azione.
Si tratta in sunto di un prodotto anomalo e, per quanto mi riguarda, riuscito soltanto a metà. Il fatto che manchi completamente una storia che faccia da filo conduttore alle vicende e che si rimanga alla fine dell'ultima puntata praticamente in sospeso, non riesce a dare allo spettatore o quantomeno a me un'idea di conclusione e di aver guardato qualcosa di significativo. È veramente un peccato, perché in realtà gli episodi visti uno per uno sono molto gradevoli e a volte anche molto profondi, ma rimane alla fine questo senso di insoddisfazione profonda per cui ci si sente quasi presi in giro.
Bella musica, bella cinematografia bravi gli attori, otto vicende e alla fine? L'aereo rolla e rolla sulla pista, si guarda fuori dal finestrino aspettando di decollare e partire, finalmente, i motori si scaldano e rombano e poi... si spengono. Fine del viaggio. Eh, no, diavolo!
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That does not detract from the story at all, in fact some how it enhances it. You get some truly awesome action scenes, including Yamada kicking backside in his wheelchair. You forget that this actor has not been in this wheelchair for years, he has made it a part of his person. That makes me appreciate the actor even more.
This show tackles heavy topics and makes you stop and think, even if you don't want to.
THIS SHOW IS AMAZING!
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I must fangirl first, these two actors are amazing and you must check out their other works! I started this because I am a fan of Suda Masaki, but also because of the plot line being phenomenally enticing!
I loved the series! The mise-en-scene, lighting, camerawork, acting, script-writing, editing, and the accuracy on how dull programming is was all just over my head and beautifully crafted. The series does not just focus on the friendship, but the mystery of the cases that they get when a client does not respond on time. It's a perfect balance and I wish there was more dramas like this!
Unfortunately, it ends at 8 episodes - praying for a 2nd season, if not an extension of episodes. I highly recommend to 15+ audiences!
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“dele”? [Yes/No]
dele.Life is a company established by Sakagami Keishi where he and Mashiba Yutaro provide the service of fulfilling the contractual requests of their clients for complete removal of their personal information upon their demise. In other words, the deletion of digital data or “relics” that is present in their electronic devices. Hence the term dele, which means to delete. This process is complicated and fraught with uncertainty, intrigue and suspense as it involves verification of the clients’ supposed deaths, the potential for consequential impact of the content in question and ultimately uncovering the truth of the deceased's final wishes.dele is a mixed media project, meaning a production involving the medium of literary works and television dramas, entitled Project Page Turner. Initiated by crime novelist Takayoshi Honda and screenwriter-novelist Kazuki Kaneshiro, with the backing of entertainment company Kadokawa Co. Ltd, the TV drama was produced first before the completion of the novel, also of the same name.
A TV Asahi production that is directed by Taketa Tsunehiro (BG: Personal Bodyguard series) and Tomoyuki Takimoto, who also co-wrote the screenplay alongside Takayoshi Honda, Kazuki Kaneshiro (BORDER series), Takeshi Aoshima (Avalanche), Tomihiko Tokunaga (Aibou, Iryuu Sousa), and Yusuke Watanabe (Gantz, Attack on Titan). The experienced Keisuke Imamura (Avalanche) serves as cinematographer while prolific composer Taisei Iwasaki and music producer DJ Mitsu The Beats contributed to the original score and soundtrack.
This drama garnered an impressive list of accolades which includes the 56th Galaxy Award for September 2018, 13th Confidence Award Drama Awards’ leading actor and grand prize for both male leads, 98th Television Drama Academy Awards’ director awards, 27th Hashida Award for leading actor and Tokyo Drama Award 2019 for drama excellence.
What I Loved
The premise of the drama, the narrative for each episode, and the underlying themes featured. I was hooked from the get-go. This is perhaps the most fascinating application of the episodic format that I have come across in recent memory. Each episode is unique, imbued with its own distinctively compelling and poignant exposition that is conveyed with a specific storytelling approach, filming style, atmospherics, side characters and even music. All 8 episodes contribute to the character growth of the two male leads and their partnership dynamics, yet stylistically they give the impression of an anthology drama with 8 vastly different mini-stories. Divergent yet cohesive, disparate without lacking coherence. Kudos to the screenwriters for the smart writing and creative approach in reinventing familiar themes to be presented over the course of the drama.
The technical execution, which is reminiscent of a film production but in a drama format. I’ve seen a few TV Asahi productions recently and they never cease to amaze me with their quality, which is the case here as well. The drama appears very cinematic indeed, especially in terms of the direction, cinematography and editing. The experienced cinematographer, Keisuke Imamura, showcases a variety of filming techniques throughout. In certain episodes, he favours long takes of back-to-the-camera shots while in others, he employs close-ups and tilted angles to capture the sense of disorientation as experienced by characters in scenes. In terms of the editing, dele is one of the rare dramas that adopts an extensive range of editing techniques including prolonged fades in scene transitions as well as match cuts, to name a few. These variations in photography and editing methods are not just used for the sake of diversity but are put to good effect in complementing and enhancing the storylines across all episodes.
The soundtrack for dele is one of the most eclectic that I have heard in a drama production. The mix of music genres is extensive and establishes the atmospherics of the narrative. Comprising big band music, jazz numbers, classical pieces, and contemporary fusion, I’ve enjoyed the music as much as I have appreciated the storytelling and for the most part, both aspects go very well together.
The aforementioned technical excellence certainly contributes towards enabling viewers to develop the necessary emotional connection to the individual stories as well as building an attachment to the various characters. The excellent execution would be meaningless without the accompanying emotive impact and this is where dele has succeeded for me. The drama excels in articulating the complexities of the human drama and emotions in a manner that is riveting, evocative, provocative, introspective, reflective and contemplative for viewers, IMHO.
The already well written characterizations are elevated further through the fine performances of the main cast. In particular, Suda Masaki who had me in complete shock and awe at his portrayal of the affable, warm and upbeat Mashiba Yutaro. I have never encountered such a character before and in a central role, no less. It’s my first time seeing this actor in action and let me tell you, his acting is absolutely phenomenal for he truly infuses this eccentric goofball with a lot of heart and soul. His physicality or rather flexibility is astounding as well with the numerous parkour-like stunts that he executes to near-perfection. Aside from the unkempt long hair, I have absolutely no criticism of the fine work that he has done here.
Yamada Takayuki plays the co-lead, Sakagami Keishi. He is an exceptionally versatile leading actor, as evidenced by his interpretation of the role here. Despite being more understated than his co-star, he skillfully projects the nuances and air of mystery that make his wheelchair-bound character a fascinating feature of the plot that arouses much curiosity in viewers. It’s worth mentioning that the slick choreography of his fight scenes performed from the wheelchair is one of the highlights for me.
The supporting and guest cast who appear in this production are certainly deserving of mention as well. The elegant Aso Kumiko, who plays the managing partner of the law firm that sponsors dele.Life and sister to Sakagami Keishi, Sakagami Mai, is convincing as the level-headed and assertive lawyer. The veterans Yo Kimiko and Takahashi Genichiro impressed me with their painfully heart-wrenching portrayals of Esumi Sachiko and Urata Fumio respectively in one of my favourite segments of the drama that is episode 3. Hashimoto Ai makes a breathtakingly scene-stealing appearance as the stunning Kusunose Yuriko while Shibasaki Ko provides subtlety and finesse with her take on Sawatari Akina in episode 5. Episode 7, which exudes whodunit vibes, features Nimura Sawa’s enigmatic Miyagawa Akane and a strong performance by Tsukomoto Shinya as the death row convict Sasamoto Seiichi. Maro Akaji, the kindly grandfather from Lupin no Musume, makes a memorable guest appearance in the highly-charged finale.
Final Thoughts
This goes into my list of all-time favourites as one of the more unique J-dorama productions that I’ve had the pleasure to watch. My favourite stories are from episodes 1, 3, 4, 5 and 8 in particular. Exceptionally produced, brilliantly written and wonderfully acted, dele is certainly deserving of recommendation and perhaps even international distribution on major OTT platforms.
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Dele was conceived as part of the project that aims to bring Japanese novels to small screen. So the production team had a budget, a non-demanding time slot (night), and no expectation for commercial success. Kaneshiro Kazuki (the Border screenwriter) suggested to his friend, the writer Takayoshi Honda, to pen a short mystery novel that they would adapt as a drama. Before the story was written, the cast for the main characters had already been decided. As it happened several years before the premiere in 2018, it explains how they managed to snatch hugely popular now Suda Masaki.
I suspect that Suda and Yamada Takayuki both agreed to the project because of its "independent" production that featured alongside those two titans of Japanese acting many other members of creative elite. The best detective writers (the episodes were written by different authors while Takayoshi Honda was the main writer), the director, the operator, etc. were involved in the making of this drama out of sheer will to do something great just for its own sake and probably as a favour to the main project team.
Thus, everything in this drama is top-notch; there is no single non-artsy shot. Even the acorn used as a projectile in the first episode was admitted by the production team to be "ikeman acorn". The interior design of the office reminds you that "hipster" is not actually an insult. But even those tasteful decorations are constantly being elevated by the skillful lighting and unexpected shot angles. The pacing and the direction are on par with the visual. Concise storytelling, tight plot, appropriate ost - everything is done by true professionals.
It's as if the professionalism of the production team further underscores the professionalism of the main characters as if to remind you that watching masters do their job is a pleasure unto itself.
Getting back to the cast, this night slot drama that gets negligently small ratings boasts not only two of the best Japanese actors but also the likes of Shibasaki Kou and Hashimoto Ai acting as mere guest stars. Those tired with familiar faces in the dramas could also enjoy the many guest stars who are actually indie musicians and other rarely seen faces. Again, I suspect, other members of creative elite were starring as favours for friends.
The novel and the script were written with the cast already in mind so the main characters were tailored for their actors. But being who they are, Suda and Yamada managed to make their characters even better. The aloof Key in another hands would quickly deteriorate to Garu Sue but Yamada's understated acting gave the character the much needed subtlety and vulnerability. Suda infused his character with his trademark "pureness" and spirit while also performing the "wilding" scenes with violent outburst with appropriate rawness and energy.
Suda and Yamada also have great friendship chemistry and their scenes together are the best.
The story itself is a subversive mystery drama, the one that Japan does the best. A modern conflict (information security), unusual cases with unpredictable flow (even if you can guess the outcome some of the time), an engaging solutions, and the focus on the human heart amidst it all makes this drama a close relative of another great show - Unnatural. The subversiveness also comes from the fact that the main investigators aren't actually there to punish "bad guys" or to save "victims". They are just two clerks in the firm that takes responsibility to delete the designated files from the deceased's devices. This setup allows for more grey morale than J-dramas usually permit. It is perks of night slot again.
At the same time, the story is not too heavy or overly dramatic making us believe that such a firm could very well exist and not just in some manga world. Dry humour and fast pace also make for a great entertainment. Episodes are very different from each other being written by the different writers. The ep. 1, 5 and 8 are the main arc done by Takayoshi Honda while ep. 6 would be recognisable to the fans of The Border. Episode 3 is supposedly the main hit with the Japanese public.
All in all, I would recommend to watch Dele as one would enjoy a cup of coffee in a 'hip' cafe you somehow ended up in. Be surprised by well thought-out interior that is actually designed to make you comfortable and relaxed, marvel at the glinting cutting edge machinery that produces actually quite decent coffee, and think about art and its place in our life.
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The acting is top-notch and I couldn't think of anyone better to cast as the two main leads, their friendship grew so naturally and their dynamic is one of the most important aspect of this drama.
I find it difficult not to give this drama a solid ten. I'm sold as hell even from the first episode and even the next episodes flew by me so quickly that I didn't even notice I've reached the last episode.
And I still want Season 2. Fight me.
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Other than that, the chemistry of the two main leads was adorable to watch. His and Yutaro's character complemented each other well. The way Kei's character is written was respectful. They showed that despite his disability, he's still as capable as any human being who was blessed with functioning body. The disability is nothing but just another part of himself. It was wonderful.
Simple premise but the scripts and the directing successfully turn this into truly a gem of a drama.
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As a short, 8-episode novel adaptation dele nevertheless maintains good pacing that doesn't overwhelm or drag on. The plot is episodic; there's one slice-of-life scene filled with cute banter and truly funny comedic relief, the case-of-the-week is introduced, and the leads go off to investigate, unraveling a plot twisted by the vagrancies of human nature, ending with a satisfying conclusion that leaves you in a contemplative mood. The action scenes are fun and punchy, and there's even some awesome wheelchair-based fighting choreography. The endings usually twist a couple of times, but don't pop out of nowhere, and it's great to replay an episode and appreciate the foreshadowing elements. Note that the plot doesn't doggedly adhere to pure realism; there are some supernatural elements in one sub-plot, for example (but no jump-scares), and one of the characters is a genius hacker while the other is a brilliant actor (it's not quite "high IQ, meet high EQ" but it's close).
Takayuki Yamada and Masaki Suda really deliver; I'm not a huge fan of either and think they've both delivered dull performances in the past. They play somewhat reserved young men with opposing temperaments who grow to trust and rely on each other as they work to unravel the mysteries behind why dele clients left behind certain data to be destroyed (and help them fulfill the deeper regrets behind their last request). There's no over-the-top misunderstandings, no weird competitive jostling between the two, no romance — it's such a relief to witness their low-key interactions as their friendship blossoms after all these crazy over-the-top romcons and makjang. Kumiko Aso plays the charming mediator and big sister who brings the two together and supports the company behind the scenes.
I appreciate the way that the series handles Keiji's handicap, which is, very matter-of-factly with no dramatics. Keiji doesn't let the chair stop him from doing what he wants to do, while Yutaro simply accepts him as he is. There are small moments that capture the daily inconveniences, such as where Yutaro is helping Keiji get into a car or to wipe down the wheels before they enter a house, or they have to move a chair aside for them to drink tea at a café — and then there are scenes where the boys flip society's conceptions and leverage the chair to sneak into enemy territory, or Keiji uses it as a weapon in a fight (so cool~!). In short, it's not a cheap add-on. The only time Yutaro even explicitly mentions Keiji's handicap is when he exasperatedly has to remind Keiji, "don't try to use it as an excuse now (you've never let it stop you before!)" — it's clear that Yutaro doesn't view it as something to be ashamed of and really respects Keiji's capabilities.
All the technical aspects, such as the filmography and music are well-done. The guest actors were usually great, sometimes the performances were only so-so, but overall there were plenty of touching moments to move the heart in every episode.
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The beats of the drama are awesome as well. DJ MITSU THE BEATS was a name I just heard after discovering dele's music and his stuffs are great.
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The performances of all three leads were really great, there was no exaggeration in acting. Unexpected cameo, quality of directing, well done cinematography and a bittersweet every stories they have.
Some of the story didn't end up very well which made me not be able to guess the ending very correctly that's why some episodes ended without satisfying conclusion.
The vibe of this drama is closest to Border and Unnatural in many aspects such as riddling a story and dealing with dead. It explores so much emotions, dark and lonely on each episodes.
I love Yutaro characters so much even though he is full of "dark" behind those his comic behaviors he did, he has done really well as an errand boy.
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A great show
I like this drama but not a lot ? I can'tunderstand the people saying that it's
the best drama for them like I mean I
agree it's good and not boring but it's
not THAT good in my opinion or I
guess I'm just being picky again?
Ok so as you read in the plot the drama
is about two guys who are not gay? I
seriously am watching so many BLs
so like I have clear myself as who is
gay and who is not? please don't
mind me.... Yeah so one guy is on
wheel chair due to some unknown
disease and the other guy has no job
and just is an errand boy in his 30s ?
they both work in a company where
their client gives them a file in his or
her computer or laptop which they
wants to be deleted after they die and
they give that job to our boys. So like
basically most of the people have
some kinds of secrets that they don't
want to tell anyone even after their
death and that's why they ask them to
be deleted cuz no one will do that after
they are dead. According to the rules
they are not allowed to see their client's
data themselves but that would be no
fun so the drama is about 8 special
cases where they see the data and you
know investigate who killed or why did
they did suicide or why did do that or
this. It can be called an investigation
type of drama but is kinda different.
The stories and the clients are always
different every episode. My most
favourite episodes are the supernatural
one and the gay one cuz really the plot
twist at both of them was something
even I didn't imagined. Besides those
episodes the other stories were kind of
predictable but I still enjoyed them a
lot for sure. The bromance was of
course good. Romance is not at all
there sadly? but yeah the bromance is
strong. Also every story teaches some
kind of life lessons and that is
something I really liked. Basically if you
are into investigation type of dramas
this one is for you.
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Questa recensione può contenere spoiler
Righteous warriors
First and foremost: what is a dead animal doing on Suda Masuki's head? It is so distracting!!!!This "case of the week" series has an original premise and colourful characters telling a story of a company who deletes sensitive content from their client's devices upon their demise. Bur sometimes these deletes are not as simple as they seem.
The series features Kai, a wheelchair bound CEO computer wiz suffering from an unknown illness and the aforementioned carrier of a dead furry animal Yutaro helping Kai in his investigations to right the wrongs. They are a kind of righteous warriors with Kai slowly reconsidering his cold and rigid rules in contact with "happy go lucky" Yutaro.
The series has 8 episodes dealing with some sensitive issues such as suicide, corruption and bullying (don't asian producers just love making dramas about bullying! It must really be a huge problem in their societies? Though it is probably the case everywhere where teens and social medias are in play!). Through these cases we get to know slightly, ever so slightly, until the last episode, the main character's background stories. As I was watching it I had lost hope that we'd find out more about our warriors. The last episode explained a lot eventually.
I really have a bone to pick with the writer about Yutaro: everything about him is just so over the top. Starting with the dead furry animal on his head, clothes found in the bin, posture worthy of Hunchback of Notre Dame. Was it really necessary to make him such an ugly sight to see. And even though he was kind, smart and really perceptive, I was still really surprised anyone wanted to talk to him when he approached them with his unkempt looks. And I am a Suda Masaki fan but here I prefered the actor playing Kai. While Suda Masaki was bouncing off walls as Yutaro, Yamada Takayuki as Kai was the essence of calm and intelligence, who, in contact with Yutaro, starts showing cracks in his armour.
My pet peeve is hair and all three main characters had awful hairstyles and wigs?!?!? Why? Especially Yutaro with his furry pet on his head!
On the other hand the music was unusual. The main theme that kept playing reminded me of those US shows from the 70/80s: heavy on guitars ant every time it played I expected to see those colourfully dressed US shows' characters strutting around (i.e. Miami Vice, Shaft etc.). That is another issue I have with j dramas: the music is very often used wrongly. That bothered me very much in Mystery to Yunakare but it was more bearable here.
Anyway, I liked this drama a lot though still one question remains: what was that dead furry animal doing on Yutaro's head?
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