Ikiru (Living)

Set in a run-down impoverished post-war Tokyo, far removed from it’s contemporary image as one of the world’s highest-tech cities, this film sets out a scathing indictment of a stifling bureacracy by focussing on the “heroic” achievements of one who doggedly fought against it. The scale of the repercussions of these achievements is conveyed through the testimony of his co-workers and the plaudits of his constituents, thus emphasising the role of the individual in the apparatus of public governance.

The bureaucracy that is condemned so unapologetically in the film is portrayed as a real threat to the quality of life of the city’s citizens. One manifestation of the problem is the attitude of the bureaucrats themselves to their office life, which smacks of the apocryphal stories one hears of present-day Japanese salarymen whose work is an all-pervading feature of their lives. Some ancient thinkers maintained that public governance was of paramount importance to human life, and perhaps it is this fact, that public governance is fundamental to any society, that gives this film it’s scope as a cultural and historical document.

Of course, that is not to say that the personal circumstances of the lead character are of no importance to the film’s success or otherwise. On the contrary, it’s entire structure is built around him, and his exploits do after all embody the concept of the role of the individual in public life. Gradually, as we learn more about his history, we come to understand this hoarse-voiced civil servant, and his somewhat idiosyncratic reaction to the news, which is conveyed in the very first scene, that he has not long to live. Along the way we also come to appreciate the nuances of his society, where the influence of the West is never far away, nor financial concerns.

The story is told with the help of multiple flashbacks and voiceovers. The final act is notable for its use of flashback, and is perhaps the most enjoyable part of the film, thanks to it’s well-observed take on the way in which revelations emerge with the help of alcohol. Another reason for the success of the relatively light-hearted final act lies in its contrast to the dour and oppressive mood that the filmmakers establish in the first half of the film.

Knowing beforehand that a film is considered by some to be a classic obviously poses some difficulties for a reviewer, who feels obliged to look beyond any superficial quibbles, such as a crackly soundtrack or distractingly obvious special effects, in order to appreciate why the film has earned its acclaim. I mention this by way of a disclaimer, an insight into my approach to the film. I doubt there is anything new I can add to the long-established case for the filmmakers as “genii at work”. Suffice it to say that they have presented an engaging story with unobtrusive style and that is no small achievement.

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