OSCARS 2023: Living (2022)

White people have a proud tradition of ripping off Akira Kurosawa movies. Whether it's “The Magnificent Seven” moving “Seven Samurai's” story to the wild west, or “Star Wars” basing a few characters on “The Hidden Fortress,” the Japanese master's work has provided inspiration for years now. I guess if you're going to steal, steal from the best, right? Kurosawa himself had that philosophy, what with “Yojimbo” being inspired by “Red Harvest” and his numerous riffs on Shakespeare. The cycle continues this year with “Living,” a riff on Kurosawa's “Ikiru.” (Which itself drew inspiration from Tolstoy's “The Death of Ivan Illych.”) “Living” was actually pushed into development by a Japanese author, acclaimed novelist Kazuo Ishiguro providing the script. That level of prestige no doubt contributed to the movie's critical success, which is probably how it received two Academy Award nominations.  

Rodney Williams is an elderly English fellow, working as a low-level bureaucrat in 1950s London. His unassuming life is interrupted when he's given a terminal cancer diagnosis from his doctor. Stunned, he decides not to tell his son and considers suicide. Instead, he withdraws half his life savings and stops going to work. Deciding to “live a little” before his life ends, he goes out for a night on the town with a young writer he meets and takes a much younger former co-worker out to lunch. With his remaining time slipping away, Williams decides to contribute a little bit of good to the world before he passes on, something his colleagues reflect on after the fact.

Based on its plot synopsis and the Academy's general taste, I expected “Living” to be a soft and sweet little British film. This is not a totally incorrect presumption yet I was still a bit taken aback by how quiet and considerate “Living” is. There's several long stretches without any dialogue at all. Instead, the film focuses on Bill Nighy's face as he thinks about what the right course of action is, whether it's internally debating whether to tell his son or his reaction after his younger friend takes him to an exotic dancer. The musical score is quiet and not intrusive. Music actually plays a vital role in “Living,” as there are several notable moments devoted solely to Williams warbling off folk songs. This is a movie full of sighs and long pauses, especially concerned with the weight of quiet conversation and the consequences of our actions.

Bill Nighy is one of those beloved character actors, always reliable to bring a little bit of class or energy to a movie, no matter how dire it might be. I certainly associate him more with scene-stealing, sarcastic comedy – in projects like “Love Actually” or “Shaun of the Dead” – than I do serious dramatic roles. Yet “Living” is a display for Nighy's considerable skills as a performer. Nighy says  a lot just with a look or his body language. You totally buy him as an old man, at the end of his life, considering whether he's wasted the time he has or what kind of legacy he'll leave behind. You definitely buy him as an old man, so consumed by his daily routine that he's forgotten about the impact he can make. When Nighy gives a wry little chuckle or a small smile, it's really earned. This is most evident during the frequently delightful, often deeply melancholic scenes he shares with Miss Harris, the younger co-worker you suspect he has a bit of a crush on.

I was a bit caught off-guard by “Living's” structure. I don't think it's a spoiler to say that Williams dies before the film is over, though it happens with about a half-hour left to go. Instead, the final act of the film is devoted to his former co-workers and family members reflecting on the man's life and the effect he had in his final weeks alive. The conclusions they draw are maybe stated a little too plainly. Sometimes, it feels like “Living” is stating its themes and points directly to the audience, instead of showing it through the narrative and interactions. But it's an awfully nice message. “Living” ends things in a very sweet place, touching the audience without being too sappy or maudlin about things. 

I've never seen “Ikiru,” so I can't compare “Living” with it directly. From what I've read, this is a respectful remake, if perhaps a little too wispy. Nevertheless, I'm glad I watched it. Nighy gives a wonderful, gentle performance and I'm happy it got some recognition from the Academy. It's a handsome production, with nice costumes and thoughtful cinematography. I'm glad that contemplative projects like this can still get made and seen on a wide basis. “Living” doesn't break any new ground but it made me smile, made me a little sad, and made me think about some stuff. Sometimes that's all you need. [7/10]