Akira Kurosawa's Ikiru details the existential struggle of one ordinary man in his desperate search for purpose. Upon learning he has terminal stomach cancer, a low-level government bureaucrat (Takashi Shimura) leaves his job of thirty years without a word to find meaning in the year he has left to live. He is completely alone in the world -- his wife is dead, his son is practically estranged, and his co-workers (the people with whom he has more contact than any others) are little more than strangers. Rather than face a death alone in pathos, Shimura opts to make up for lost time by going to the bar (for the first time in his life), spending every last yen in his wallet and drinking himself to death. There he meets a black-clad artist (a Mephistopheles to his Faust) who leads him on a hellish (and darkly humorous) tour of the city after dark as the two crawl through every booze-soaked juke-joint in town (Kurosawa's classical training as a painter surfaces in this sequence; many critics have noted the striking similarity of the crowded dance hall scenes to the paintings of Hieronymous Bosch, (particularly Walpurgis Night). Realizing he has missed nothing, Shimura then sets his sight on a pretty young girl from the office to divert his attention from his looming mortality. Although the girl fails to serve as a lifebuoy, she does give him the inspiration to do something meaningful -- to leave a legacy, however small, that makes the world a better place. A synopsis of Ikiru cannot serve the film justice; it simply must be seen. ~ Jeremy Beday, All Movie Guide
Review
This contemporary drama from Akira Kurosawa, better known for such sweeping samurai epics as The Seven Samurai (1954), is arguably his best film and the most articulate vision of his existential philosophy. The film's protagonist seems to spring directly from the writings of Jean-Paul Sartre or Leo Tolstoy's The Death of Ivan Ilych: a tragic, pathetic figure who has so immersed himself in daily routine that he never learned to live. Only when confronted with his own imminent demise does he give his live meaning by building a playground over an open sewer in an impoverished section of town. The film is structured in a peculiar bifurcated arrangement: it begins as a straightforward plot that, halfway through, shifts into a fragmented narrative recounted in flashbacks by mourners at Watanabe's funeral. In the second half, we witness Watanabe's dogged struggle through the lenses of his baffled co-workers' own unexamined lives. Initially viewing his efforts with suspicion if not contempt, his workers fail to give Watanabe any credit for his single-handed effort to build the park. This section of Ikiru becomes compelling and ironic thanks to Kurosawa's deft depiction of Watanabe's inner state in the first half. Ikiru opens with an X-ray of Watanabe-a literal manifestation of his interior world. The rest of the section, through a tour-de-force of impressionistic and expressionistic cinematic devices, shows Watanabe's slow awakening from his quarter-century stupor to learn what it is to live. Takeshi Shimura delivers a staggering performance as Watanabe; his large pleading eyes and hangdog face burn a haunting image in the viewer's mind long after the film ends. The emotional force of Ikiru leaves the viewer feeling both transformed by Watanabe's evolution and contemplative about one's own life. ~ Jonathan Crow, All Movie Guide
Ikiru(生きる,"To Live"?) is a 1952Japanese film co-written and directed by Akira Kurosawa. The film examines the struggles of a minor Tokyo bureaucrat and his final quest for meaning. The film stars Takashi Shimura as Kanji Watanabe.
Kanji Watanabe (Takashi Shimura) is a middle-aged man who has worked in the same monotonous bureaucratic position for thirty years. Furthermore, his relationship with his son has become strained, as his son and daughter-in-law seem to care mainly about his pension and their future inheritance.
After learning he has stomach cancer and has less than a year to live, Watanabe attempts to come to terms with his impending death. He plans to tell his son about the cancer, but decides against it when his son does not pay attention to him. He then tries to find escape in the pleasures of Tokyo's nightlife, but after one night, he realizes this is not the solution. In the night club scene is when Watanabe requests a song from the piano player, he sings this song, Gondola no Uta, with great sadness. His singing greatly affects those watching him. The song is a ballad encouraging young women to find love while they are still young and beautiful, for life is short.
The following day, a chance encounter with one of his former subordinates leads him to pursue a different solution. Watanabe is attracted to her joyous love of life and enthusiasm. He opens up to her by saying he just wants to live one day in such a carefree, youthful way like she does. She reveals that her happiness comes from her new job, making toys, which makes her feel like she is friends with all the children of Japan.
Inspired by her example, Watanabe dedicates his remaining time to accomplishing one worthwhile achievement before his life ends; through his persistent will, he is able to overcome the inertia of bureaucracy and turn a mosquito-infested cesspool into a children's playground.
The last third of the film takes place during Watanabe's wake, as his former co-workers try to figure out what caused such a dramatic change in his behavior. His transformation from listless bureaucrat to passionate advocate puzzled them. As the co-workers drink, they slowly realize that Watanabe must have known he was dying. They drunkenly vow to live their lives with the same dedication and passion as he did. They soon find themselves back at work, however, buried under the same meaningless busy-work they had vowed to fight.
An iconic scene from the film is from the last few moments in Watanabe's life, as he sits on the swing at the park he built. As the snow falls, we see Watanabe gazing lovingly over the playground, at peace with himself and the world. He again starts singing Gondola no Uta.
Ikiru was remade as a television drama that debuted on TV Asahi on September 9, 2007, and it starred the famous kabuki actor Matsumoto Kōshirō IX. Set in 2007, some characters and plot lines were changed.
