The Sounds Of Living, An Analysis of Ikiru
The Sounds of Living
From gangsters to scriveners, throughout this class Losers In Literature, we have encountered and discussed all types of characters. Ikiru is a 1952 Japanese film directed by Akira Kurasawa. Ikiru or ‘to live’ is the story of a bureaucratic man who faces a terminal diagnosis. Kanji Watanabe, the protagonist played by Takashi Shimura, is perhaps the most impactful and persuasive character that we have experienced. This black and white film has won numerous awards for its powerful story and charismatic acting. Ikiru, viewed as political cinema, came into film during a time of Japans post war reconstruction and was seen to call for a new understanding of culture and self-awareness. In this essay I will explore the techniques used by Akira Kursawa to bring depth to the development of Watanabe’s character and meaning to the film. This is an analytical review of the film Ikiru and an interpretation of the techniques used to build such a profound and moving character.
In the very beginning of the film opens with an x-ray picture of Watanabe’s stomach and reveals to the audience that he has stomach cancer. This simple opening sets the stage and begins the anticipation that surrounds this diagnosis. Shortly after the narrator adds onto the growing anticipation by explaining how Watanabe is not actually living anyway, he is a slave to his bureaucratic job, “Ah, here is our protagonist now… he’s simply passing time without actually living his life. In other words, he’s not really even alive” (Motoki & Kurosawa, 1952). From the very beginning Akira Kurasawa has primed the audience with knowledge that gives depth and perspective to Watanabe’s character.
Moving forward to when the anticipation becomes reality, Watanabe learns of his stomach cancer. He already knows the truth, revealed to him by another stranger in the waiting room. This stranger describes stomach cancer symptoms familiar to Watanabe and jokes about how the doctors always cover it up with
From gangsters to scriveners, throughout this class Losers In Literature, we have encountered and discussed all types of characters. Ikiru is a 1952 Japanese film directed by Akira Kurasawa. Ikiru or ‘to live’ is the story of a bureaucratic man who faces a terminal diagnosis. Kanji Watanabe, the protagonist played by Takashi Shimura, is perhaps the most impactful and persuasive character that we have experienced. This black and white film has won numerous awards for its powerful story and charismatic acting. Ikiru, viewed as political cinema, came into film during a time of Japans post war reconstruction and was seen to call for a new understanding of culture and self-awareness. In this essay I will explore the techniques used by Akira Kursawa to bring depth to the development of Watanabe’s character and meaning to the film. This is an analytical review of the film Ikiru and an interpretation of the techniques used to build such a profound and moving character.
In the very beginning of the film opens with an x-ray picture of Watanabe’s stomach and reveals to the audience that he has stomach cancer. This simple opening sets the stage and begins the anticipation that surrounds this diagnosis. Shortly after the narrator adds onto the growing anticipation by explaining how Watanabe is not actually living anyway, he is a slave to his bureaucratic job, “Ah, here is our protagonist now… he’s simply passing time without actually living his life. In other words, he’s not really even alive” (Motoki & Kurosawa, 1952). From the very beginning Akira Kurasawa has primed the audience with knowledge that gives depth and perspective to Watanabe’s character.
Moving forward to when the anticipation becomes reality, Watanabe learns of his stomach cancer. He already knows the truth, revealed to him by another stranger in the waiting room. This stranger describes stomach cancer symptoms familiar to Watanabe and jokes about how the doctors always cover it up with
Cited: Sōjirō Motoki & Akira Kurosawa. (1952). Ikiru. Japan: Toho Studies.