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Ikiru (???, "To Live") is a 1952 Japanese drama film directed and co-written by Akira Kurosawa and starring Takashi Shimura. The film examines the struggles of a terminally ill Tokyo bureaucrat and his final quest for meaning. The screenplay was partly inspired by Leo Tolstoy's 1886 novella The Death of Ivan Ilyich.

Ikiru
Theatrical release poster
Directed byAkira Kurosawa
Produced byS?jir? Motoki
Screenplay by
  • Akira Kurosawa
  • Shinobu Hashimoto
  • Hideo Oguni
Starring
  • Takashi Shimura
  • Miki Odagiri
Music byFumio Hayasaka
CinematographyAsakazu Nakai
Edited byK?ichi Iwashita
Distributed byToho
Release date
  • October 9, 1952 (1952-10-09)
Running time
143 minutes
CountryJapan
LanguageJapanese

The major themes of the film include learning how to live, the inefficiency of bureaucracy, and decaying family life in Japan, which have been the subject of analysis by academics and critics. The film has received widespread critical acclaim, and in Japan won awards for Best Film at the Kinema Junpo and Mainichi Film Awards. It was remade as a television film in 2007.

Screenplay

Kanji Watanabe is a middle-aged man who has worked in the same monotonous bureaucratic position for thirty years. His wife is dead and his son and daughter-in-law, who live with him, seem to care mainly about Watanabe's pension and their future inheritance. At work, he's a party to constant bureaucratic inaction. In one case, a group of parents are seemingly endlessly referred to one department after another when they want a cesspool cleared out and replaced by a playground. After learning he has stomach cancer and 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, guided by an eccentric novelist whom he has just met. In a nightclub, Watanabe requests a song from the piano player, and sings "Gondola no Uta" with great sadness. His singing greatly affects those watching him. After one night submerged in the nightlife, he realizes this is not the solution.

The following day, Watanabe encounters a young female subordinate, Toyo, who needs his signature on her resignation. He takes comfort in observing her joyous love of life and enthusiasm and tries to spend as much time as possible with her. She eventually becomes suspicious of his intentions and grows weary of him. After convincing her to join him for the last time, he opens up and asks for the secret to her love of life. She says that she does not know, but that she found happiness in her new job making toys, which makes her feel like she is playing with all the children of Japan. Inspired by her, Watanabe realizes that it is not too late for him to do something significant. Like Toyo, he wants to make something, but is unsure what he can do within the city bureaucracy until he remembers the lobbying for a playground. He surprises everyone by returning to work after a long absence, and begins pushing for a playground despite concerns he is intruding on the jurisdiction of other departments.

Watanabe dies, and at his wake, his former co-workers gather, after the opening of the playground, and try to figure out what caused such a dramatic change in his behavior. His transformation from listless bureaucrat to passionate advocate puzzles them. As the co-workers drink, they slowly realize that Watanabe must have known he was dying, even when his son denies this, as he was unaware of his father's condition. They also hear from a witness that in the last few moments in Watanabe's life, he sat on the swing at the park he built. As the snow fell, he sang "Gondola no Uta". The bureaucrats vow to live their lives with the same dedication and passion as he did. But back at work, they lack the courage of their newfound conviction.

 
 
Takashi Shimura and Haruo Tanaka have starring roles.
  • Takashi Shimura as Kanji Watanabe (?? ??, Watanabe Kanji)
  • Shinichi Himori as Kimura (??)
  • Haruo Tanaka as Sakai (??)
  • Minoru Chiaki as Noguchi (??)
  • Miki Odagiri as Toyo Odagiri (??? ??, Odagiri Toyo)
  • Bokuzen Hidari as Ohara (??)
  • Minosuke Yamada as Subordinate Clerk Saito (??)
  • Kamatari Fujiwara as Sub-Section Chief ?no (??)
  • Makoto Kobori as Kiichi Watanabe (?? ??, Watanabe Kiichi), Kanji's brother.
  • Nobuo Kaneko as Mitsuo Watanabe (?? ??, Watanabe Mitsuo), Kanji's son.
  • Nobuo Nakamura as the Deputy Mayor.
  • Atsushi Watanabe as a patient at the hospital.
  • Isao Kimura as a medical intern.
  • Masao Shimizu as the doctor.
  • Y?nosuke It? as the novelist.
  • Kyoko Seki as Kazue Watanabe (?? ??, Watanabe Kazue), Kanji's daughter-in-law.
  • Kumeko Urabe as Tatsu Watanabe (?? ??, Watanabe Tatsu), Kiichi's wife.
  • Noriko Honma as a housewife.
  • Seiji Miyaguchi as the Yakuza boss.
  • Daisuke Kat? as a Yakuza.

Living

Death is a major theme in the film, which leads to the protagonist Watanabe's quest to find the meaning of life. Initially, Watanabe looks to nightclubs and women to live life to the fullest, but winds up singing the 1915 song "Gondola no Uta" as an expression of loss. Professor Alexander Sesonske writes that in the nightclub scene, Watanabe realizes "pleasure is not life," and that a goal gives him new happiness, with the song "Happy Birthday to You" symbolizing his rebirth. Because Toyo is young, she has the best insight as to how to live, and is presented as the "unlikely savior" in Watanabe's "redemption."

Author Donald Richie wrote that the title of the film, meaning simply "to live," could signify that "existence is enough." However, Watanabe finds existence is painful, and takes this as inspiration, wanting to ensure his life has not been futile. The justification of his life, found in his park, is how Watanabe discovered how "to live." In the end, Watanabe now sings "Gondola no Uta" with great contentment.

Bureaucracy

Ikiru is also an "indictment of Japanese bureaucracy." In Japan after World War II, it was expected that the sarar?man (salary man) would work predictably in accordance with an organization's rules. The scene where the mothers first visit the city office requesting a playground shows "unconcern" in the bureaucrats, who send the visitors on a "farcical runaround," before asking them for a written request, with paperwork in the film symbolizing "meaningless activity." Despite this, Watanabe uses the bureaucracy to forge his legacy, and is apparently not disturbed when the bureaucracy quickly forgets he drove the project to build the playground.

Japanese health care is also depicted as overly bureaucratic in the film, as Watanabe visits a clinic in a "poignant" scene. The doctor is portrayed as paternalistic, and Watanabe does not stand up to his authority.

Family life

Author Timothy Iles writes that, as with Yasujir? Ozu's 1953 film Tokyo Story, Ikiru may hold a negative view about the state of family life in modern Japan. Watanabe has lived with his son for years, but they have fallen out of any true relationship. His son, Mitsuo, sees Watanabe as a bother, and sees him as standing in the way of money in Watanabe's will. The children fall short of their responsibility to respect their parents.

Urbanization may be a reason for negative changes in Japanese society, although a reason for Watanabe and Mitsuo's drift is also Watanabe's preoccupation with work. Another reason is Watanabe not being with Mitsuo during a medical treatment when the boy was 10, which fits a pattern in Kurosawa's films of sons being overly harsh to their fathers.

 
 
Leo Tolstoy's The Death of Ivan Ilyich was an inspiration for the screenplay, co-written by Hideo Oguni.

The film marked the first collaboration between director Akira Kurosawa and screenwriter Hideo Oguni. According to Oguni, the genesis of the film was Kurosawa's desire to make a film about a man who knows he is going to die, and wants a reason to live for a short time. Oguni was an experienced writer and was offered ¥500,000, while co-writer Shinobu Hashimoto was offered ¥150,000. Initially, Kurosawa told Hashimoto that a man who was set to die in 75 days had to be the theme, and that the character's career was less important, with the director saying criminal, homeless man or government minister would be acceptable.

The screenwriters consulted Leo Tolstoy's novella The Death of Ivan Ilyich, and Oguni envisioned placing Watanabe's death halfway through the film. Kurosawa dictated the scene where Watanabe is on the swing, and mentioned the beginning lyrics of "Gondola no Uta." Since none of the men were familiar with the song, they consulted their eldest receptionist on the rest of the lyrics and the song title.

Kurosawa renamed the draft The Life of Kanji Watanabe to Ikiru, which Hashimoto found pretentious, but Oguni supported. The screenplay was completed on 5 February 1952.

In Japan, Toho released the film on 9 October 1952.Ikiru

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