Movie Title: Ikiru – Criterion Collection
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There are many improbable reviews on this location about why the film “Ikiru” is so large. And many are beautifully written. I have seen many films in my life, yet “Ikiru” stands head and shoulders above any I have ever seen. For me, the film is not only the greatest Japanese film ever, but the greatest film of all-time. One of the reviewers [BARRY C. CHOW] gave a very top-notch and poignant review of this film. And I hope he is faulty that the film will not appeal “to those raised on a western diet of car crashes, yammering idiots and pixie dust.” However, maybe in time, when these viewers have grown older, wiser, and have experienced life, then these viewers will reach to relish the pure genius of this Kurosawa classic.

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I know that writing that this is the greatest film of all-time is a gallant statement. So let me justify it a bit more: It is my current film of all-time. I have seen countless films, but none have had the impact that this film has had on me. Ikiru (To Live) is not a film about dying: but how we live our lives. And in this short life of ours how we live our life matters. Are we kind to our neighbors? Do we care for our children? And unprejudiced as important: Do we employ enough quality time with them? This is a peaceful and simple film. The main protagonist Kanji Watanabe (Takashi Shimura) has gone through his life as another cog in the bureaucratic office where he works.

Maybe at one time in his life he had dreams of better things; yet with time he grows accustomed to his job; and is no longer alive with the passion of what makes life delightful. Yes, one can belong to a bureaucratic machine; but one can also perform a dissimilarity, as we the viewer are about to glean out. Moreover, we can also live a life outside of our jobs. We can all execute a incompatibility no matter what our life’s work entails. However, events in Watanabe’s life are about to consume a different turn. A turn for the worse, and yet, also a redeeming turn for the better. When Watanabe is diagnosed with an incurable illness, he sets about to give some meaning to a life wasted as a lifetime bureaucrat. For our humble protagonist realizes that his life must have a meaning. Watanabe realizes that through all the wasted years since his wifes death he has not accomplished anything worthwhile. Alienated from his son, he sets about to accurate in what puny time he has remaining to originate some sort of contribution to society.

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And this contribution comes in the procedure of a childrens park. Akira Kurosawa does not insult his viewers with a tremendous manufacture of a holy crusader about to change the world. No, for Mr. Watanabe, the simple desire to beget a childrens park is all that he seeks. Simple and yet all so poignant. We the viewer follow Mr. Watanabe as he meets the very bureaucratic headaches that he himself was once a section of, but no longer. We have sympathy for Mr. Watanabe as goes about trying to cleave through all the red tape in order to perceive the park built before he dies. No longer the obstructionist bureaucrat, he now comes face to face with the very obstacles others have faced when he was once the obstructionist.

This is Watanabe’s attempt to design amends for his contain past. This is not only Kurosawa’s greatest film, but the greatest film ever. There are no shoot-outs, explosions or car chases. This film is a simple reminder to those of us who are willing to hold the time to recognize what Kurosawa is attempting to note us: That life is short. And that what we do with our lives matters. How many of us, like the protagonist Kanji Watanabe are alive, but have not lived life? Do we achieve off visting our loved ones? Are we unprejudiced going through the motions of life? Or are we living a life of quality?

And yes, our dear protagonist Mr. Watanabe does succeed in the raze at making a contribution, no matter how shrimp. And Takashi Shimura’s character does succeed in giving some meaning to his short life and existence–his contrivance of contributing, no matter how exiguous, to those in his community. I first watched this film in 1977, and I never tire of viewing it again and again. There is not a scene in the film that I cannot lift. This is a heartfelt film, and Takashi Shimura [His greatest role] plays his fraction in the film with such outstanding humility, that we the viewer arrive to empathize with him. I have never forgotten the fragment where he sings, both in the drinking establishment, and at the destroy of the film; swinging in the now finished children’s playground: So haunting, and yet so gorgeous. This film puts what’s really famous in life into perspective. Life is too short, execute the best of it. And more importantly, live your life as if each day were the last. There are not enough stars to give this large classic. [Stars: 5+++++]

Since others have written lengthy, quick-witted reviews (And I’m gratified they did) I will exhaust my dwelling to be simple. The film, at its most basic level, is about redemption, living (Ikiru is “To Live” in english) and dying, and what matters most to really acquire a disagreement in your life, and the lives of others. The film is still yet utterly noteworthy, a basic behold of a man trying to rep meaning in his last days. But it’s so distinguished more than that, and I can only characterize the film and its purpose as salubrious, well-behaved, warm, intriguing, and exquisite. It is not a sappy, joyful movie, but it’s so quietly affecting that I’m a grown man who is smooth reduced to tears seeing the pivotal “swing” scene that is on the movie’s cloak. What is happening in that scene, what it means, what it represents, and what is being said during the shot, is, to me, honest about the most hauntingly exciting scene I’ve ever witnessed. And I will remember it forever, as well as all of Ikiru, as a poignant, unlit yet triumphant example of the human spirit to really persevere and obtain a astonishing incompatibility.
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