Ikiru - Criterion Collection (1952)

 Just Another Reason Why The "Lesser" Kurosawa Is Easily the Most Overrated Director of All Time
This review continues my recent assault on particular cinematic themes that annoy me incessantly, and therefore require a therapeutic purging via an extensive (and scathing) IMDb review. The topic in question here is Akira Kurosawa - hereafter referred to as the "lesser" Kurosawa, primarily because when one hears the name Kurosawa one should immediately think of Kiyoshi Kurosawa, who is superior in almost every respect to this "lesser" Kurosawa, a director artificially propped up on an undeserving pedestal by a group of disillusioned followers. Sure, he had one solid film in Seven Samurai (1954), but every time I see his other movies I wonder how the hell anyone could think that this guy was a great director. It befuddles me, even though I am a huge fan of other directors from the same time period.

My primary problem with the "lesser" Kurosawa is his indisputable ability of getting the absolute worst out of his actors and actresses. In Ran (1985) Tatsuya Nakadai (who played Lord Hidetora) contributes a series of embarrassingly overacted moments during any and all scenes where strong emotion is required. In Hidden Fortress (1958) Misa Uehara (Princess Yuki) gives one of the worst performances of the 1950s. Even Toshiro Mifune had a truly ineptly performance in Rashomon (1950). In Dreams (1991) almost everyone stinks the place out. Ikiru (1952) continues the track record for this "lesser" Kurosawa, because Takashi Shimura (who plays Kanji Watanabe) is quite simply horrible in this film. He basically has three modes of facial expression:

1. Wimpering Crybaby Mode. 2. Sad Puppy Dog Mode. 3. Hallucinogenic Mode.

I'll leave it to the viewer to identify the specific instances where each of these modes are employed by Shimura, but I simply cannot help but comment on #2 above. During Sad Puppy Dog phases, Shimura's face lengthens and his eyes bug-out to make even fruit-flies jealous. Basically, he looks like a 3-year-old after being scolded, not a person of sufficient maturity enduring pain or suffering. He doesn't react to situations like any grown man would. In fact, the Watanabe character is so devoid of basic humanity that he comes off as a stand-in for Invasion of the Body Snatchers. I'm not kidding when I say that Shimura's facial expressions make Ikiru both unintentionally hilarious and infuriating. I literally wanted to strike him with a blunt object or stick needles in his eyes just so he'd stop staring pathetically at me through my television screen.

This whole situation ruins the entire film. The crux is that even a mediocre director should have prevented this by instructing Shimura appropriately. This "lesser" Kurosawa was apparently incapable of understanding the concept of "overacting", so he let Shimura ham it up for 140 minutes. You can almost hear this "lesser" Kurosawa behind the camera:

"You're a puppy dog, Takashi. You're a puppy dog. Show me those puppy dog eyes!"

It's no wonder why George Lucas found "inspiration" from the "lesser" Kurosawa's works, since Lucas practically perfected the "art" of getting the absolute worst out of his actors, regardless of how good they perform when not under the "influence" of good ole George.

Like many of the other works by this director, Ikiru is about an hour too long. Watching Watanabe go clubbing for 60 minutes was totally unnecessary. The very thin premise was stretched out for so long that I was reminded of Peter Jackson, who needed 600 minutes to tell one of the most basic, formulaic stories in the history of cinema. The "lesser" Kurosawa could have trimmed the first half, but in all honesty it would have only made this agonizing cinematic experience shorter, not better. Since the lead protagonist had the reason and intellect of a 3-year-old, there wasn't much in the way of potential development, and what little occurs comes from out of nowhere. The entire maturity of Watanabe is expressed in a segment spanning a few measly minutes, when he goes to work with zeal and runs out the front door to help the people. Kurosawa - in his infinite stupidity - then chooses to cut the sequence off completely, only to then shoot ahead half a year in time to show a bunch of politicians reminiscing about Watanabe's tasks for 45 minutes. There is simply no way that the viewer can relate to the revelatory happiness of the main character through the third-person conversations of characters that had a combined screen time of only a few minutes previously. It's a total miscalculation on the part of the director who takes the cheap way out with an abhorrently overrated "swing" scene in the snow. Yes, the scene is pretty, but it simply cannot substitute for a lack of character development that essentially occupies 5 total minutes out of a 140-minute film. And no, I refuse to count 30 minutes of puppy dog glances as character development.

The mediocrity of this much-loved "lesser" Kurosawa is even more evident in the fact that other, greatly superior dramatic directors like Yasujiro Ozu were making fantastic films like Early Summer (1951) and Tokyo Story (1953) - films that make Ikiru (1952) look like amateur hour at best, because they have everything lacking in this film - great acting, storyline, and character development with believable, realistic performances. It's a travesty that exceptional directors like Ozu must live in the shadows of a lesser director that was lucky enough to be admired by a few tasteless Californian bloodsuckers.

It's almost humorous that the "lesser" Kurosawa came out with Ikiru in the time period in-between Ozu's films mentioned above. We can safely call this a crap sandwich. May 7, 2008

 Ikiru is a thought provoking movie
Great movie by Kurosawa. It may seem slow for many people. But, its deliberate pace and silent moments intensifies the message for us:

Ikiru (To Live). February 13, 2008

 A story with a pulse
Ikiru (to live)

This is an extremely passionate film that is small in scope but enormous in heart. It touches on a simple thought that resonates beyond any mundane everyday notions and asks a lofty question--Are you living your life to the fullest? It beautifully explores this question without being haughty or pretentious.
I imagine this is Akiru's most emotionally entrancing and thought provoking film. It's definitely not his most visually impressive or action packed work, but perhaps it's his most personal.
Imagine finding out you have six months to live. That stark realization comes crashing down on this main character, played with subtle precision by Takashi Shimura. As the panic sets in, he is forced to contemplate many important things. He realizes how little he has done with his time here on earth. So he sets off on an important journey to reclaim the life he's wasted.
This story is a strong reminder that everyone should be able to relate to. It stresses the importance of the little things in life, and not to take things for granted. You'll soon realize this message is actually not small in scope at all. Such a moving tale, highly recommended. February 2, 2008

 The All Time Greatest Funky Masterpiece
Currently there is a discussion thread on this site which asks: "What is the best twist you have ever seen in a movie?" I'm sure that the vast majority of those who have contributed reviews here, and more broadly, those who have seen this film, would agree with my assessment: Hands down, Ikiru. Ikiru is not a "fun" film to watch (although some scenes seem so antiquated and, well, funky, as to be hilarious). The film is not "entertaining". As life often does, the film moves at a belabored pace. The situations are prosaic, predictable, protracted - often painful, and painfully slow. The characters are almost universally unattractive, often downright ugly, on the outside, on the inside. I found the film, for the longest time, somewhat irritating in its presentation. The low budget simplicity grates. The seamy, threadbare side of life gets tiresome to watch. And the acting - enough ham to fill the pots for a many a Sunday dinner. But, in the end, surprisingly almost, everything works.
The unforgettable last frame . . . even more than the noted swing scene, is, as it should be, the real climax of what turns out to be a most profoundly moving tale. . . The last frame of Ikiru says it ALL - in film, and more importantly, in life. Transcendent. January 25, 2008

 If You Have Patience You Will Enjoy This
I was lucky enough to catch Ikiru on one of my calm I wanna watch a slow movie days. Usually I'm bouncing off the walls and watching a crazy action flick. I can certainly understand that this might not be a movie for everyone because it can be a little slow and quiet. So if slow and quiet isn't your style then you may not want to pick this up. This being a Kurosawa film it will definitely draw some attention and trust me it is worthy of his direction. Kanji Watanabe (Takashi Shimura) is a middle-aged man who has been living a dull meaningless life. He has worked the same job for years and has to come home to a son who just seems to be waiting for him to die. Kanji finds out that he has stomach cancer and is told that he has less than a year to live.

This strikes something in his mind, that he needs to start living instead doing the same things everyday. Because of this disease Kanji tries to live life as if he were young and full of life. He even tries to drink his sorrows away while explaining his newfound sickness. Kanji meets a young girl who he admires because of her youth and joy. Because of her she inspires him to do something big before he dies. He sets his sights on building the community and fixes up old broken down playgrounds among other things. He does what he can and lives right down to his very last minute.

Ikiru has good quality coming from all elements of a good film not just one thing. Even the old black and white picture adds some emotion to the film. The story itself is timeless and is one that may appear to many people in their life. I think what really gives this film that extra something is the acting from Takashi Shimura who made this character very realistic. He had a look on his face for the entire film that showed pain and his age and fear of his future. His face looked as if death was sitting right next to him waiting for him to fold up and stop living before he even died. There was never a time where you forgot that he was this character. As I said earlier the films black and white picture added a lot to the films feeling it wanted to give you and when you watch it you'll understand. I saw no flaws in Ikiru and it is definitely a must see especially if you love the work of Takashi Shimura and Akira Kurosawa. October 9, 2007

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