Running Time: 102 minutes
As reviewers, we are often disappointed by the frequency of remakes and tend to approach them with caution. Often, they don’t live up to their predecessors. Living is a new adaptation of a 1952 Akira Kurosawa drama called Ikiru. The original is superb, making the challenge of a redo all the more difficult. Yet somehow, this film ends up being a success in its own right. I’m not sure that the movie bests its inspiration, but it is a striking and emotionally resonant tale with a stirring and award-worthy lead performance.
Set in the 1950s, the story is transplanted to London and introduces viewers to aging, frosty County Council employee, Mr. Williams (Bill Nighy). He is the living and breathing definition of government red tape, frustrating applicants at his public works department. One day, the man learns that he has a terminal illness. Widowed and hoping to discuss his troubles with his son and daughter-in-law, he finds them less-than-receptive to even a casual conversation. Mr. Williams takes some time off work, shocking his employees, including Peter Wakeling (Alex Sharp) and Margaret Harris (Aimee Lou Wood). He wanders to the seaside and shares an intimate conversation with stranger Sutherland (Tom Burke), who promises to show him how to enjoy himself. Yet Mr. Williams struggles with changing his behavior and is forced to consider alternate ways to leave some final mark on the world.
Obviously, the success of the film almost wholly depends on everything working perfectly. Writer Kazuo Ishiguro clears the writing challenge easily with a beautiful and nuanced screenplay. Nothing is overstated or overdramatized. In fact, Mr. Williams comes across as incredibly authentic, not wanting to burden others with his own troubles. Viewers simply witness and listen to a pained man quietly process a grim prognosis and, when he chooses to open up, modestly discuss his situation and options with some unexpected individuals.
There are no false notes in the script and lead Nighy is also more than up to the task. Seeing Mr. Williams sitting silently in the dark on his living room couch, overhearing his daughter-in-law and son discuss their displeasure with him, is heart-rending. Overall, it’s an interesting journey for the protagonist. In most Hollywood films, we’d witness an introverted man squeezing in an outrageous bucket list of activities.
But that doesn’t happen in this story. It quickly becomes clear that the man simply isn’t comfortable with going wild and quickly has to reevaluate his plan. As he discovers a possible solution, we see a transformation that is believable and moving. It’s a nuanced and powerful performance that is perfectly delivered by Nighy. The movie also provides an engaging third act as Mr. Williams’ employees discuss changes in the character’s attitude and behavior and try to figure out exactly what happened, why and the effect it has had on all of them.
The film also looks gorgeous. The seaside locations and 1950s backdrop is appealing to the eye. And yet the closed off framing, particularly in the office scenes filled with stacked applications, also help to lend cramped feeling to the lead’s normal existence. Naturally, areas in post-war London weren’t all pretty, so the film also uses confined housing communities to strong effect. It shows the contrast as the formerly icy lead eventually tries to do something special in a gloomy space.
While there aren’t many big surprises and it is difficult to say whether this remake outshines the original (which is now 70 years old), it’s hard to imagine the story being told any better in the present day. Enough so that this critic will admit that sometimes reimagining a classic isn’t always a terrible idea. Bolstered by a stupendous, saddening and yet inspirational performance, Living is a moving and memorable experience worthy of accolades and consideration this awards season.