‘Ikiru’: Awakening to Life

Kanji Watanabe (Takashi Shimura), in “Ikiru.” (Toho).

NR | 2h 23m | Drama | 1956

Renowned filmmaker Akira Kurosawa is often celebrated for his breathtaking samurai epics like “Rashomon” (1950), “Throne of Blood” (1957), and, my personal favorite, “Seven Samurai” (1954). Other works, like “High and Low” (1963) and “Ikiru” (1956), reveal a different yet equally compelling facet of his artistry. (Critics praised a remake of “Ikiru” starring Bill Nighy.) These films move away from epic battles and historical settings. Instead, they delve into the more contemporary complexities of human nature and the profound exploration of what it means to truly live.

In “Ikiru” (“to live”), Kurosawa explores the journey of Kanji Watanabe (Takashi Shimura), a middle-aged government worker who learns he has a terminal illness.

The film opens with an unexpected twist: A narrator reveals Kanji’s diagnosis to the audience long before he learns of it himself. This early narrative choice, which resurfaces throughout the first part of the film, serves to create emotional distance, avoiding melodrama. It also allows the focus to remain on the deeper themes of life and purpose.

A group of concerned mothers get caught up in red tape, in “Ikiru.” (Toho).

The film’s charm lies in its universal theme: Faced with the certainty of death, how would one choose to spend one’s remaining days? Kurosawa’s exploration of this question unfolds through a narrative structure that shifts midway, reflecting Kanji’s journey toward finding meaning in the limited time he has left.

Similar to “High and Low,” wherein a father’s world is upended by the kidnapping of a boy mistaken for his son, “Ikiru” crafts a story that feels relatable. The film resonates not just with Kurosawa’s loyal fans, but also with anyone who appreciates a thoughtful meditation on life’s fleeting nature.

What makes this ordinary, unassuming bureaucrat, who has spent nearly 30 years diligently going through the motions, the unlikely hero of this story? At first glance, he seems far from someone truly living to the fullest, but as he faces the reality of his limited time, something begins to change within him.

A man with a terminal illness learns to find meaning in his life, in “Ikiru.” (Toho).

An Unfulfilled Life

Kanji, the public affairs section chief at Tokyo’s City Hall, is entrenched in a life of monotony. Surrounded by towering piles of paperwork, he spends his days in a repetitive routine. His department is known for deflecting responsibility and getting little accomplished. His colleagues even joke about whether he’s been eating the same bowl of noodles for decades. Nearing retirement and a widower, he feels a sense of stagnation, and his personal life offers little solace. Kanji’s grown son, Mitsuo (Nobuo Kaneko), seems primarily interested in his inheritance.

The turning point in Kanji’s life comes when he learns that his stomach pain is due to terminal cancer. Confronted with his impending death, he faces the emptiness of his life. In desperation, he abandons his routine and briefly explores indulgence with a jaded novelist (Yunosuke Ito). The two meet at a bar, where Kanji reveals his diagnosis, and the writer urges him to seek fleeting pleasures. They spend the night drinking and visiting the city’s darker corners, but Kanji remains emotionally distant, still searching for a deeper meaning he has long lacked.

Toyo Odagiri (Miki Odagiri) and Kanji Watanabe (Takashi Shimura), in “Ikiru.” (Toho).

The following day, nursing a hangover, Kanji encounters Toyo Odagiri (Miki Odagiri), a young and vibrant colleague from his department. Her infectious energy and zest for life fascinate him. As they spend more time together, her youthful optimism and joy gradually awaken something within him. Kanji begins to reconsider how he might spend his remaining days with a renewed sense of purpose.

Metamorphosis

The film’s pacing and direction lend a quiet, contemplative tone to each scene. The close-ups, which first highlight the monotony of Kanji’s life, gradually reveal more complex emotions. The film shows great empathy for Kanji; despite contributing to the bureaucratic stagnation around him, he has always tried to make the most of his situation.

The film also features moments of surprising humor. In one memorable scene, a group of local parents relentlessly try to get approval from City Hall to drain a cesspool and build a playground, yet they are bounced from one department to another … and another … and yet another. This sequence, all too familiar to many of us, captures the frustration of navigating indifferent bureaucracies and being bogged down by red tape.

Much like another recent gem I reviewed, “Perfect Days” (directed by Wim Wenders), “Ikiru” is exceptional for its timeless emotional richness, emphasizing the essential value of appreciating life itself. Although the film carries a tragic undertone, its true focus is on individualism and the profound joy that comes from wholeheartedly embracing one’s existence. It transcends being merely a story about mortality. Instead, it becomes a powerful affirmation of life’s potential to live a life of fullness and happiness.

“Ikiru” is available on The Criterion Channel, Kanopy, and Vudu.

‘Ikiru’ Director: Akira Kurosawa Starring: Takashi Shimura, Nobuo Kaneko, Shin'ichi Himori Not Rated Running time: 2 hours, 23 minutes Release Date: March 25, 1956 Rated: 4 1/2 stars out of 5

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