生きる

Drama
Overview : Kanji Watanabe is a middle-aged man who has worked in the same monotonous bureaucratic position for decades. Learning he has cancer, he starts to look for the meaning of his life.
Budget : Na
language : ja
Runtime : 143 min
Release Date : 1952-10-09
Imdb ID : tt0044741
Status : Released

Cast

志村喬
Kanji Watanabe

田中春男
Sakai

金子信雄
Mitsuo, son of Kanji

左卜全
Ohara

小田切みき
Toyo

日守新一
Kimura

千秋実
Noguchi

山田巳之助
Subordinate Clerk Saito

藤原釜足
Sub-Section Chief Ono

小堀誠
Kiichi Watanabe, Kanji's Brother

中村伸郎
Deputy Mayor

渡辺篤
Patient

木村功
Intern

清水将夫
Doctor

伊藤雄之助
Novelist

南美江
The Maid

浦辺粂子
Tatsu Watanabe

三好栄子
Housewife

本間文子
Housewife

丹阿弥谷津子
Bar Hostess

菅井きん
Housewife

Kyôko Seki
Kazue Watanabe

阿部九洲男
City Assemblyman

永井智雄
Newspaperman

宮口精二
Yakuza Boss

加東大介
Yakuza

林寛
Yakuza

村上冬樹
Newspaperman

青野平義
Newspaperman

小川虎之助
Park Section Chief

瀬良明
Worker in General Affairs

千葉一郎
Policeman

谷晃
Bar Owner

小島洋々
Worker in Sewage Section

市村俊幸
Pianist

Harue Kuramoto
Dancer

Rasa Saya
Stripper

深見泰三
Baseball Spectator

Tateo Kawasaki
Civil Engineering Section Staff

勝本圭一郎
Park Division Staff

Haruko Toyama
Cabaret Woman

堺左千夫
Yakuza (uncredited)

広瀬正一
Yakuza (uncredited)

宇野晃司
Yakuza (uncredited)

出雲八重子
Housewife (uncredited)

Jirô Mitsuaki
City Hall Executive (uncredited)

Sôkichi Maki
General Manager (uncredited)

鈴木治夫
Sanitation Division Receptionist (uncredited)

Takeo Nagashima
(uncredited)

今井和雄
(uncredited)

加藤茂雄
(uncredited)

安芸津広
Infectious Diseases Section Receptionist Staff (uncredited)

Ippei Kawagoe
Road Section Receptionist (uncredited)

津田光男
City Planning Receptionist (uncredited)

榊田敬二
Land Readjustment Section Receptionist (uncredited)

熊谷卓三
Fire Department Staff (uncredited)

片桐恒男
(uncredited)

夏木順平
Patient (uncredited)

小泉博
Jazz Bar Guest (uncredited)

向井淳一郎
(uncredited)

本木荘二郎
Narrator (voice) (uncredited)

青山京子
Schoolgirl (uncredited)

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Reviews

Geronimo1967
Takashi Shimura is "Watanabe", an elderly civil service lifer who is told that he has terminal stomach cancer. After years of a disciplined, rather pedestrian existence he now feels a need to emancipate himself and start to live a little. The story is told through two threads: one looks at the end of the old gent's life from his own perspective; the second takes a retrospective view from the wake as his family and colleagues gather to remember him. Kurusawa is clearly making a point with this delicate, poignant film - perhaps life needs to be appreciated and enjoyed - not necessarily in a jovial, happy fashion, but by achievement. In this case "Watanabe" sets about using his position to help locals get a park, but he also starts an empowering relationship (platonic) with a younger girl, who is quite keen on her food, it has to be said. As his colleagues at the wake suffer from excesses of saké their traditionally stiff, reserved, view of their late friend becomes more of a tool to evaluate their own roles and purpose as they determine to be more like him.... The writing has plenty of humour and again, Kurosawa uses weather as a wonderfully potent instrument to create a great atmospheric feel to this gentle story of profound change, and - maybe - contentment.
narrator56
I watched the English follow-up version (Living) before watching this original, and wished I had reversed my order. I liked Living much more than this original, but since both were written by the same Japanese scriptwriter, my preference might be cultural rather than due to quality issues, not to mention the scriptwriter had come up with improvements through the intervening years. The club and bar scenes near the beginning seem to go on much longer than in the remake, or at least it felt like it! And the same for the later scenes with the young woman. Then again, that wouldn’t be surprising since this older version is 40 minutes longer. Still, the differences in the details based on the separate cultures are interesting to note, and I recommend both versions, though I would start with the older one as I mentioned above.
badelf
Typical Kurasawa creative framing in the beginning of the movie. The scene of dancers shot through bead curtains swinging in time to the music was brilliant. His choice of Miki Odagiri for muse is brilliant. Her laugh is infectious. The last act stuck me as rather static. It's perhaps from cultural mores about the dead I don't understand (like the taboo of not ever sticking your chopsticks into the rice bowl!). Kurasawa waxes philosophical on life and government here, and indeed, nothing has changed in 70 years.

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