Ikiru (to live) – Movie Review

Poignant!!!

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Akira Kurosawa’s Ikiru is one of the most heart rendering movies I have ever seen. It’s a wonderful movie where you see the master at the zenith of his craft. This is well illustrated by the fact that this movie is released in 1952 between Rashomon (1950) and Seven Samurai (1954). In my book these three are the greatest of the master’s works. What is even more endearing about this movie is that this is not as dark and hopeless as the master’s subsequent works near the end of his life.

The first shot of the movie is that of an X-Ray showing of a patient suffering from gastric cancer. The patient’s name is Mr.Watanabe, a government bureaucrat. He is infact the public relations section chief whose actual job is to address the complaints of the common man. But in reality what he does is just glance through piles of paper work and stamp his seal on them to show that he has handled the case. He is someone who has been busy all his life without having done anything fruitful.

When he discovers that he has gastric cancer, he begins to have a new perspective on his life so far. He realizes that he actually wants to live now that his days are numbered. He also begins to see his relationship with his son in a new light. He had spend his whole life living for his son whereas his son has become too self centered to care about his father.

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Watanabe who has never missed a day in office for the last thirty years begins to skip office for days. During one of these days he meets a novelist who takes him on a trip to all the bars, strip clubs and other places of revelry to show Watanabe how to live life to the fullest. Watanabe then meets a young female co-worker who is just fed up with the drudgery and boring work back at the office and wants his seal on her resignation. Watanabe tries to cling on to her and spends as much time as possible with her. He wants to live off her youthfulness and energy.

However she as well as everyone else in his family mistakes his feelings for the girl as an old age infatuation. But when she tells him about her work at a local toy factory and the joy of her work there Watanabe realizes that in order for him to be truly happy he will have to find joy at his workplace itself and do something useful. He takes up the issue of building a park for children over a waste yard.

From then on the story takes place after 5 months where we see how Watanabe, who is dead now, lived the last few days of his life as well as how he managed to get the park built. We get an idea of this through the accounts of his colleagues and friends who had gathered at his house to pay their last respects.

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What I liked the most about this movie is its narrative style. It’s absolutely amazing. In the beginning, the director gives us a sense of the bureaucracy’s inefficiency where a group of women seeking a park to be build over a wasteland (the same park Watanabe helps get built later on) are send to various departments with nobody willing to take the responsibility to help them. All the departments pass the job on to another which is shown by the director shows this with a sequence of fading shots.

Another memorable sequence is when Watanabe looks back at his relationship with his son. Again through a series of fading shots the director shows us how Watanabe comforted his son after his mother’s death, how Watanabe decides not to marry again, how felt while watching his son play a baseball game and how he felt when his son left to join the military.

But they all fade in comparison to the master’s brilliant narrative of how Watanabe triumphed in his ordeal to build the park in the end. Normally in a movie we would have seen the protagonist after undergoing a similar transformation, heroically and sometimes over dramatically going about achieving his goal. But Kurosawa wouldn’t be regarded as a genius today if he had done that. Instead he introduces a revolutionary narrative where he shows to us through other’s perspective of Watanabe how he manages to build the park in the end.

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Till the point of his starting off to build the park, the audience is very much intertwined with Watanabe’s feelings and his desperation for life. We feel every pain, desperation and loneliness of the man who knows that he has only a short while more to live. But after he starts off with his mission, the next thing that is shown to us is a group of people talking about him while paying their last respects to him.

We, the audience, are made to feel detached from the conversation that is going on and are forced to look upon the conversation from Watanabe’s point of view. Since we know more about Watanabe than any of the people assembled there we sometimes feel compelled to correct or contradict the men’s speculation about Watanabe. It’s almost as if the master wants us to feel like Watanabe is looking down on their conversation from the havens.

The acting by Takashi Shimura is top notch. I have seen him in Seven Samurai and his acting in this movie is completely opposite to the vibrant and energetic character that he played in Seven Samurai.

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Kurosawa is a master at making thought provoking movies. In this one he asks us the value of the rat race that we are involved in even today. We are so immersed in our daily routines that we forget to enjoy our precious gift called life. We forget to live while immersed in mundane pursuits. The master does this and at the same time is realistic about it all. This he shows when the Watanabe’s colleagues, even after vowing at his funeral to change their way of working, goes back to their old ineffective ways the very next day. That is the touch of a genius.

Reviews of Akira Kurosawa's Major works

Akira Kurosawa

Rashomon (1950)

Ikiru (1952)

Seven Samurai (1954)

Hidden Fortress (1958)

Yojimbo (1961)

High And Low (1963)

Red Beard (1965)

Kagemusha (1980)

Ran (1985)

Rhapsody In August (1991)

Yojimbo

A western from the east

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With Yojimbo Akira Kurosawa takes a classic western, transports it to 1860 Japan and transforms the gunslinger into a sword wielding Ronin (a master less samurai), taking the genre to unparalleled heights. At the same time he does not lose focus from the primary purpose of a movie; that is to tell a good story.

The movie starts off like any other western you might have seen. The dust blowing through what seems like a ghost town, the long road which seems to run right through the length of the road and the audience’s view of the lone stranger entering the town all reminds you of a western. The only difference is that instead of cowboy attire the protagonist wears a kimono.

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The protagonist’s real name is never known to us. He takes the name of the first plant he lays his eyes on in the town. He says his surname is Sanjuro which means thirty. What hits you in this movie though is its dark humor and violence. During the opening sequence itself we see a dog running across Sanjuro with a human hand, while he is just about to enter the town. This shot gives both Sanjuro and us a foreboding sense of violence in this quiet town. And for all the humor in this movie, Kurosawa doesn’t shy away from showing the violence in very vivid detail for the time it was shot in.

Sanjuro enters the town and quickly learns that the town is controlled by two rival gangs. One of the gangs is led by the local silk merchant while the other is controlled by a sake merchant. The gangs are often involved in bloody fights against one another. And the town is in ruins. The only person making a good living here is the undertaker. The gangsters are aided by corrupt officials. One of them, a constable, actually convinces Sanjuro that the only way to survive in this town is to join forces with either of the two gangs. He even goes on to introduce Sanjuro to one of the gangs and collects a commission for his efforts too.

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But Sanjuro is a crafty fellow and is more intelligent than the towns people realize. He decides to play both sides and gets himself employed in the services of the both gangs. Things go on fine until the fighting escalates between the rival gangs. Even the undertaker is jobless now, because he says that when there are so many dead no one bothers with a coffin anymore. This line is typical of the dark humor that is prevalent throughout the movie.

Sanjuro’s contentment however doesn’t last long. He is not able to suppress his sympathy for a woman kidnapped by one of the gangs. The humaneness in his heart takes over when he decides to free the woman and reunite her with her child and husband. From then on Sanjuro’s faces a battle of survival and how he ultimately succeeds in wiping out both the gangs forms the rest of the movie.

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Toshiro Mifune is unparalleled as the lone Ronin. His swagger and his toothpick chewing in your face attitude give life to a character that could so easily have been played as an unconvincing superman. His subtlety and restrain is superb, and makes the character easy to identify with, even though it is in no way related to us. His silences and glances speak volumes and gives us an insight into what the character is going through at the moment. Although Clint Eastwood patented the same style in “Fistful of dollars” and other westerns, Mifune took the style to another level altogether.

Sanjuro is not your typical hero either. His motives, almost throughout the movie, are purely selfish. He is a hired sword or mercenary, willing to give his services to the highest bidder; whoever they might be. In the initial sequence he kills of a few gang members with utter nonchalance just to demonstrate his skills. Later on when he sets about to destroy the gang members, it is mostly out of revenge rather than out of a desire to save the town from their grasps. He was brutally assaulted and tortured by the gang members after he had freed the kidnapped woman, the only time he does a selfless act. Kurosawa’s hero is as grey as any you could find and still you end up rooting for him.

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That Kurosawa is a master of fight and action sequences was proven beyond doubt in “Seven Samurai”. In Yojimbo though he brings about a ballatic effect to the action sequences amidst its chaos. It leads to the climatic showdown between Sanjuro and the main gang member who has the advantage of a gun on that very long stretch of road right in the middle of the town. Kurasowa’s mastery of filmmaking is further illustrated when we see Sanjuro practicing with a knife by throwing it and pinning down a fluttering leaf. In reality that sequence is shown in reverse. The effect was created by first pinning down the leaf with a knife and then pulling it out with a string.

Yojimbo is not considered as great as some of the master’s other works. It doesn’t appeal to the intellect as Rashomon does nor does it enchant you like Seven Samurai. But still it is one of the best action movies I have seen. Kurosawa does not preach about the moral values and the wit in the movie compliments the violence and vice versa. Yojimbo is in fact more western than many other western movies from Hollywood. I believe it showed Hollywood how a western should be made.

Reviews of Akira Kurosawa's Major works

Akira Kurosawa

Rashomon (1950)

Ikiru (1952)

Seven Samurai (1954)

Hidden Fortress (1958)

Yojimbo (1961)

High And Low (1963)

Red Beard (1965)

Kagemusha (1980)

Ran (1985)

Rhapsody In August (1991)

The Truth about Rashomon

The Truth about Rashomon

Akira Kurosawa’s movies are some of the best works in cinema that I have ever seen. From the first movie that I have seen of him, I realized why people regard him with such reverence. The first movie that I saw was Seven Samurai. One couldn’t help but be awed by that movie when you consider the fact that it was made in 1954. After that I became unwavering fan of his work and saw a few more of his movies. But none of these movies were as great as Rashomon to me. To me it is the crown jewel in the master’s work. In psychology there is even a phenomenon named after it; The Rashomon Effect.

When you watch any of Kurosawa’s movies the phrase that comes to your mind is that it’s far ahead of its time. The greatest quality of all is that his movies retain a kind of freshness even today, so much so that somebody like me, who is generations apart from the time of his greatest movies, is also able to appreciate it so much. That more than anything is the hallmark of a true genius; his legacy is immortal.

Rashomon’s appeal is its plot and its narrative. The story starts off with recounting of a crime and the accounts of the people involved by a woodcutter and a priest to a vagabond commoner. The crime is the murder of a Samurai and the rape of his wife by a bandit. The narrative style is that of a flashback within a flashback as the priest and woodcutter retell the testimony of each of the witness to the vagabond.

The testimonies of the witnesses are all self serving and vastly different form one another. The bandit claims to have captured the husband and then tries to rape her. He however claims that she submitted to him of her own wishes rather than him raping her. He also claims that to absolve herself of her subsequent guilt and shame she goaded both men to duel one another. According to the bandit both men proceed to duel each other skillfully and fiercely until he kills the Samurai with his sword. On seeing this, the lady runs away. On questioning about the wife’s expensive dagger, which is missing, he claims to have forgotten completely about it in the confusion.

According to the lady’s version she claims that the bandit captured her husband, raped her and left her there with her husband. Her pleas for forgiveness were returned with nothing more than a cold stare by her husband. After she freed him she tries to give him the dagger and begged him to kill her. She claims to have overcome with stress at this moment and fainted. When she awakes she finds her husband dead with the dagger in his chest implying that she killed him accidentally while falling over unconscious. She even claims to have tried to drown herself later on.

The husband’s tale is told through a medium. He claims that after raping his wife the bandit asked her to join him. The wife agreed and asks the bandit to kill the samurai. Even the bandit is shocked by this and asks the samurai whether or not to kill the woman. At this the wife fled and the bandit freed the man. The samurai then claim that he committed suicide with the dagger. He added on that he had the feeling that someone removed the dagger from his body after he had died.

At this the woodcutter claims that the Samurai must have lied as he was killed by a sword. He then goes on to say that he witnessed the whole affair and begins to tell his version of the tale. He says that the bandit raped the woman and later begged her to marry him. At this point the woman demanded that the men duel each other for her. This enraged the Samurai and he refused to do so and only comply when called a coward by the woman. The woodcutter describes that their fight was more of a comical struggle than anything else. He contradicts the earlier version of the bandit where they had fought with valor and skill. The bandit won the duel, plunging his sword into the chest of the Samurai as he was attempting to scamper away in the bushes. The wife fled on seeing this with the bandit hot on her pursuit.

However on hearing this story the vagabond accuses the woodcutter of having stolen the dagger and hence completely inventing the new story to cover up its existence. The woodcutter’s look of guilt makes us convinced that he might have stolen the dagger.

The priest’s faith in human goodness is shaken by this turn of events and his lamenting is interrupted by the cry of an abandoned child. The woodcutter takes the child from the priest saying that he already has six children and that the addition of one more is not going to make any difference.

The story is a powerful pointer to how perception sometimes clouds the truth. Each of the character tells their own version to justify their actions and to cast them in a better light. It shows the selfishness of men. We are no closer to unraveling the mystery after hearing all the accounts than when we started off.

The bandit’s version cannot be believed because he is a thief and his moral values have already proven to be suspect. Also he wants to show himself as a great warrior when he implies that the Samurai was a great swordsman and he was able to defeat even him.

The wife’s tale shows her guilt when she says that her husband gave her a cold stare after she was raped. Her account cannot be believed because of her desire to defend her virtue and seems more concerned with how others would think of her character.

The Samurai’s tale should have been the truth. But even here we suspect it because it would be far honorable for him to claim that he committed suicide than to admit that he was defeated in a duel by a bandit. Also his account that the bandit did not have any qualm for rape but is averse to murder too defies logic.

When I first saw the movie I was sure the woodcutter’s version is the correct one. But when his thievery was brought to life then his entire narration seemed made up or at least lacking in details. The missing dagger is the critical piece of the entire narrative. If we accept that then the woodcutter’s version is not believable.

Kurosawa does not spoon feed the audience with the answer but rather leaves it to their intellect and understanding. He leaves it to the audience to draw their own conclusion. Remember that this was done in 1950 probably for the first time, and there in lies his genius.

Reviews of Akira Kurosawa's Major works

Akira Kurosawa

Rashomon (1950)

Ikiru (1952)

Seven Samurai (1954)

Hidden Fortress (1958)

Yojimbo (1961)

High And Low (1963)

Red Beard (1965)

Kagemusha (1980)

Ran (1985)

Rhapsody In August (1991)