Ikiru
The Meaning of Life and Death...
Akira Kurosawa’s Ikiru (1952) is a monumental work of cinema in the context of Japanese film and the global cinematic canon. The film's title, Ikiru, which translates to “To Live,” directly contrasts with its thematic preoccupation with death, creating an irony that speaks to the core of human existence. Through the lens of Kanji Watanabe, an ageing bureaucrat diagnosed with terminal stomach cancer, Ikiru explores profound questions about the meaning of life, the crushing weight of societal systems, and the redemptive power of purposeful action. In its quiet, deliberate manner, the film confronts the universal human fear of mortality and our often fruitless search for meaning in a seemingly indifferent world.
Ikiru's importance in cinema's history is not limited to its narrative content. Kurosawa’s innovative approach to storytelling, visual composition, and cinematic structure have influenced generations of filmmakers. Through a blend of existential philosophy, social critique, and an acute understanding of the human condition, Ikiru is a deeply personal work and a universal story, resonating with audiences across cultures and eras.
Thematic Depths of Ikiru
The Existential Crisis
At the heart of Ikiru lies an exploration of one of the most fundamental questions of human existence: what is the purpose of life in the face of inevitable death? Kanji Watanabe, a middle-aged bureaucrat who has spent the past thirty years of his life working in an uninspiring government office, faces this question head-on when he learns he has terminal stomach cancer. Until this point, Watanabe has led an unremarkable existence, passively conforming to the expectations placed upon him by society and his job. His diagnosis, however, forces him into a confrontation with his own mortality, triggering an existential crisis that serves as the driving force of the film.
In Watanabe’s journey, Kurosawa powerfully explores existentialism, a philosophical movement that gained prominence in the mid-20th century. Existentialist philosophers such as Søren Kierkegaard, Jean-Paul Sartre, and Albert Camus grappled with the meaning of life in a universe that often seems indifferent or even hostile to human existence. Though not overtly referencing these thinkers, Kurosawa echoes many of their concerns through Watanabe’s internal struggle.
For much of his life, Watanabe has been a passive participant in his existence. Like so many bureaucratic positions, his job involves endless paperwork, procedures, and red tape. In this setting, individuals are reduced to cogs in a larger machine, their actions devoid of personal meaning or impact. In this sense, Watanabe represents the quintessential “everyman” whose life has been consumed by the pressures of routine, societal expectations, and the desire for stability. His cancer diagnosis catalyses for him to reevaluate his life and search for something deeper.
This search reflects the existentialist notion that life has no inherent meaning, and it is up to each individual to create meaning through their actions. In works such as “Being and Nothingness”, Jean-Paul Sartre argued that humans are condemned to freedom — that is, we are forced to create meaning in a world that provides no clear answers. Watanabe’s existential journey in Ikiru echoes this sentiment. Faced with the absurdity of his impending death, he embarks on a quest to find meaning in his final days, a task that ultimately leads him to an act of selflessness: the construction of a children’s playground.
Watanabe’s initial reactions to his diagnosis illustrate the deep sense of existential despair described by Sartre and Camus. At first, he is paralysed by fear and hopelessness, overwhelmed by the realisation that his life has been devoid of purpose. This moment of recognition is critical in existentialist thought. In his seminal work “The Myth of Sisyphus”, Albert Camus argues that human life is defined by its absurdity — the realisation that we live in a world that does not care about our desires and that death is inevitable. Camus proposes that this recognition should lead not to despair but to rebellion: an embrace of life despite its inherent meaninglessness.
In Ikiru, Watanabe’s journey reflects this transition from despair to rebellion. Initially, he is consumed by sorrow, unable to reconcile the banality of his life with the profundity of death. His realisation that he has spent thirty years “doing nothing” reflects the existentialist idea of “bad faith,” a term Sartre uses to describe the human tendency to deny our freedom and responsibility by conforming to societal norms and expectations. Watanabe has lived in bad faith, allowing his life to be dictated by external forces rather than taking ownership of his existence.
As the film progresses, however, Watanabe begins to rebel against this meaninglessness. His rebellion takes the form of a decision to act — to do something with the time he has left that will leave a positive impact on the world. This decision reflects the existentialist belief that meaning is created through action, particularly actions that affirm life in the face of death. In constructing the playground, Watanabe finds a sense of purpose that transcends his mortality. Though he cannot escape death, he can leave behind something that will benefit others, giving his life a form of posthumous meaning.
Redemption through Action: A Moral Imperative
Watanabe’s redemption in Ikiru is not merely personal but also moral. Kurosawa presents the idea that a meaningful life contributes to the well-being of others. In Watanabe’s case, his final act of constructing the playground for the children of his community becomes a symbol of selfless action — a way of giving back to the world that he feels he has failed to engage with for so long. This is not simply an existential journey of self-discovery but a deeply ethical one grounded in the idea that our lives are intertwined with the lives of others.
Kurosawa’s moral philosophy in Ikiru is closely tied to his humanistic worldview. Throughout his career, Kurosawa demonstrated a deep concern for the plight of the individual within society, often highlighting the struggles of ordinary people to find dignity and meaning in a world that can be cruel and unjust. In Ikiru, Watanabe’s final act of redemption speaks to this concern. His decision to build the playground is not only an act of personal salvation but also an affirmation of the value of community and the power of individual agency to make a difference.
This theme of redemption through action also draws on Buddhist philosophy, which heavily influences Kurosawa’s worldview. In Buddhist thought, the concept of karma emphasises that our actions have consequences, not only for ourselves but for others as well. By taking responsibility for his actions and choosing to make a positive contribution to the world, Watanabe aligns himself with the Buddhist notion of "right action" — a central tenet of the Eightfold Path. In this sense, Ikiru can be seen as a spiritual and existential journey, with Watanabe achieving enlightenment through his final act of compassion.
Moreover, Watanabe’s redemption is contrasted with the inertia of the bureaucratic system in which he works. His colleagues, who gather at his wake in the latter half of the film, are initially inspired by his story but ultimately fail to follow his example. They return to their lives of passive conformity, unwilling or unable to break free from the system that has dehumanised them. This contrast underscores the moral significance of Watanabe’s actions: he has not only found personal meaning but has also risen above the societal structures that seek to stifle individual initiative.
Bureaucracy and the Dehumanisation of Society
One of the most compelling aspects of Ikiru is its critique of bureaucracy and the dehumanising effects of modern institutions. Watanabe’s workplace is depicted as a cold, labyrinthine environment where layers of red tape and mindless procedures smother individual agency. This setting serves as a microcosm of post-war Japanese society, but Kurosawa’s critique extends beyond Japan to encompass the modern condition more broadly. In Ikiru, bureaucracy is not just a feature of government institutions but a metaphor for the ways in which society as a whole often prioritises efficiency, conformity, and self-preservation over human connection and meaningful action.
Kurosawa’s portrayal of bureaucracy in Ikiru is striking in its cynicism. The film opens with a scene that perfectly encapsulates the absurdity of the bureaucratic system: a group of women from a local neighbourhood petitions Watanabe’s office to take action on a public health issue. Still, their request is repeatedly shuffled from one department to another, with no one taking responsibility. This endless cycle of inaction and passing the buck becomes a running motif throughout the film, highlighting the disconnect between ordinary people's needs and the bureaucratic machine's indifference.
Watanabe’s initial role within this system is one of passive complicity. He has spent his career upholding the very structures that prevent meaningful change from occurring, and it is only after his diagnosis that he begins to see the futility of his work. In this sense, Ikiru can be seen as a critique not only of bureaucracy but also of the broader societal values that prioritise institutional stability over individual initiative. Kurosawa suggests that modern society, emphasising systems and procedures, has lost sight of the human beings it is supposed to serve.
The dehumanising effects of bureaucracy are further illustrated in the latter half of the film, where Watanabe’s colleagues gather at his wake to reflect on his life. Despite their initial admiration for his final act of building the playground, they quickly fall back into their old habits, prioritising their own careers and reputations over any genuine attempt to follow in Watanabe’s footsteps. This return to complacency underscores the film’s critique of societal inertia: even in the face of a powerful example of individual action, the bureaucratic system remains unchanged, and its participants remain trapped in a cycle of passivity and self-preservation.
Kurosawa’s critique of bureaucracy in Ikiru resonates with broader concerns about the dehumanising effects of modernity. In the post-war period, Japan underwent rapid industrialisation and modernisation, leading to the growth of large, impersonal institutions that often prioritised efficiency over individual well-being. Ikiru reflects Kurosawa’s concern that in this new social order, people were becoming increasingly alienated from one another, and their lives were reduced to a series of tasks and procedures that offered little personal fulfilment.
At the same time, Kurosawa’s critique extends beyond Japan to address the universal challenges of modern life. Bureaucracy, in Ikiru, serves as a metaphor for the ways in which modern institutions — whether governmental, corporate, or otherwise — can strip individuals of their humanity, reducing them to mere functionaries in a system that values efficiency over meaning. This critique resonates with other works of literature and film that explore the individual's alienation in the modern world, such as Franz Kafka’s “The Trial” and Charlie Chaplin’s “Modern Times”.
Through Watanabe’s rebellion against this system, Kurosawa suggests that meaningful action is possible even within the constraints of modern bureaucracy. Watanabe’s decision to build the playground represents a rejection of the passive conformity that defines his colleagues’ lives. In this sense, Ikiru is not only a critique of bureaucracy but also a call to action, urging individuals to take responsibility for their own lives and the lives of those around them, even in the face of overwhelming societal pressures.
Cinematic Influences on Ikiru
Kurosawa’s Connection to Western Cinema
Akira Kurosawa’s work is often characterised by a unique blend of Japanese and Western influences, and Ikiru is no exception. While deeply rooted in the cultural and social context of post-war Japan, the film also draws on elements of Western cinema, particularly the works of Frank Capra and the Italian neorealist movement. Kurosawa’s ability to synthesise these influences into a cohesive and uniquely Japanese narrative speaks to his status as a global filmmaker whose work transcends national boundaries.
One of the most notable Western influences on Ikiru is the work of Frank Capra, particularly his film “It’s a Wonderful Life” (1946). Both films deal with protagonists who are forced to confront the meaning of their lives after experiencing a personal crisis. In “It’s a Wonderful Life”, George Bailey, like Watanabe, faces a moment of existential despair, believing that his life has been a failure. Through a series of events, he comes to realise that his seemingly insignificant actions have profoundly impacted the lives of those around him. Similarly, Watanabe’s decision to build the playground allows him to leave behind a legacy that gives his life meaning, even though he does not live to see its full impact.
Capra’s influence can be seen in Kurosawa’s emphasis on the power of individual action to create positive change. In both “It’s a Wonderful Life” and Ikiru, the protagonists’ redemption comes not from grand, heroic gestures but from small, personal acts of kindness and generosity. This focus on the importance of community and the interconnectedness of human lives is a central theme in both films, reflecting Kurosawa’s humanistic worldview.
However, while Capra’s films often have a more overtly optimistic tone, Ikiru is more restrained in its optimism. Kurosawa’s portrayal of Watanabe’s redemption is tempered by the recognition that society remains unchanged. While Watanabe’s actions have a meaningful impact on his immediate community, the bureaucratic system he worked within remains as indifferent and dehumanising as ever. In this sense, Ikiru offers a more nuanced and ambivalent view of individual agency than Capra’s films, reflecting the complexities of post-war Japanese society.
Another significant influence on Ikiru is the Italian neorealist movement, particularly the films of Vittorio De Sica and Roberto Rossellini. Neorealism emerged in Italy in the aftermath of World War II, characterised by its focus on the struggles of ordinary people and its use of non-professional actors and real locations to create a sense of authenticity. Films such as De Sica’s “Bicycle Thieves” (1948) and “Umberto D.” (1952) depict the harsh realities of life in post-war Italy, with an emphasis on the dignity and resilience of individuals in the face of adversity.
The neorealist movement profoundly influenced Kurosawa, and Ikiru shares many of its thematic concerns. Like the protagonists of neorealist films, Watanabe is an ordinary man struggling to find meaning in a world that seems indifferent to his plight. Kurosawa’s depiction of the bureaucratic system in Ikiru echoes the oppressive social structures that are often central to neorealist films. Moreover, Kurosawa’s use of real locations and his focus on the everyday lives of ordinary people reflect the neorealist commitment to portraying the world as it is, without the artificial gloss of Hollywood cinema.
However, while Ikiru shares many of neorealism's aesthetic and thematic concerns, Kurosawa’s approach is also distinct in significant ways. Unlike neorealist directors, Kurosawa often employs highly stylised compositions and editing techniques, using visual metaphor and symbolism to convey the emotional and philosophical depth of his characters’ experiences. In this sense, Ikiru represents a fusion of neorealist realism and Kurosawa’s more expressionistic style, resulting in a film grounded in ordinary people's everyday struggles and rich with deeper symbolic meaning.
The Influence of Japanese Literature and Philosophy
While Western cinematic traditions deeply influence Ikiru, it is also firmly rooted in Japanese cultural and philosophical traditions. Kurosawa’s background in Japanese literature and his engagement with Buddhist and Confucian thought are central to the film’s thematic and narrative structure, shaping Watanabe’s journey and the film’s exploration of life, death, and meaning.
One of the most important influences on Ikiru is the 物の哀れ (mono no aware) concept, a Japanese aesthetic principle emphasising life's transient nature and impermanence's beauty. 物の哀れ (Mono no aware) is often translated as “an awareness of the impermanence of things,” and it is a central theme in many forms of Japanese art and literature, from classical poetry to contemporary cinema. In Ikiru, Watanabe’s journey is a reflection of this concept. His recognition of the fleetingness of life, triggered by his cancer diagnosis, leads him to seek out a sense of purpose and meaning in his final days. The film’s emphasis on the beauty of small, fleeting moments — such as Watanabe’s quiet joy as he swings in the snow near the end of the film — reflects the 物の哀れ (mono no aware) sensibility, finding beauty and meaning in the impermanence of life.
Kurosawa’s engagement with Buddhist philosophy is also central to Ikiru. The film’s exploration of suffering, death, and redemption reflects Buddhist ideas about the impermanence of life and the importance of selflessness. In Buddhist thought, suffering is an inherent part of human existence, but it can be transcended through compassion, mindfulness, and right action. Watanabe’s decision to build the playground is an act of compassion that allows him to find peace in the face of death. His journey can be seen as a spiritual awakening, as he moves from a state of despair and attachment to worldly concerns (such as his job and reputation) to a state of acceptance and selflessness.
In addition to Buddhist philosophy, Kurosawa was influenced by Confucian ideas about duty, morality, and the importance of serving others. In Confucian thought, the concept of “ren” (benevolence or humaneness) is central to the moral life, and individuals are encouraged to act in ways that benefit others and contribute to the harmony of society. Watanabe’s transformation in Ikiru can be seen as a reflection of this Confucian ideal. By choosing to devote his final days to a project that will benefit his community, Watanabe embodies the Confucian notion of moral duty, finding redemption through his service to others.
The influence of Japanese literature is also evident in Ikiru, particularly in Kurosawa’s engagement with the works of Ryūnosuke Akutagawa, from whom Kurosawa famously adapted “Rashomon” (1950). Akutagawa’s stories often deal with existential questions, moral ambiguity, and the search for meaning in a world without easy answers — themes that resonate deeply in Ikiru. The film’s structure, which shifts from Watanabe’s subjective experience in the first half to the more objective perspective of his colleagues in the second half, mirrors the narrative complexity of Akutagawa’s stories, mainly “In a Grove,” in which multiple characters provide conflicting accounts of the same event. This narrative device allows Kurosawa to explore the limitations of human understanding and how our own biases and desires shape our perceptions of reality.
The Legacy of Ikiru
Influence on Contemporary Filmmakers
Since its release in 1952, Ikiru has profoundly impacted filmmakers worldwide, inspiring countless directors with its deeply humanistic themes, innovative narrative structure, and emotional depth. One of the most notable filmmakers influenced by Ikiru is the American director Martin Scorsese, who has frequently spoken about the impact of Kurosawa’s work on his films. In particular, Scorsese’s exploration of moral dilemmas, guilt, and redemption in films such as “Taxi Driver” (1976) and “Raging Bull” (1980) echoes the existential and ethical concerns of Ikiru. Both Scorsese and Kurosawa are fascinated with flawed, isolated protagonists who must confront inner demons to find meaning in their lives.
Another prominent filmmaker who has drawn inspiration from Ikiru is the Iranian director Abbas Kiarostami. Kiarostami’s films, such as “Taste of Cherry” (1997) and “The Wind Will Carry Us” (1999), explore themes of mortality, isolation, and the search for meaning in much the same way as Kurosawa’s Ikiru. Like Kurosawa, Kiarostami often uses quiet, contemplative moments and minimalist visual compositions to reflect the inner emotional landscapes of his characters. In “Taste of Cherry”, the protagonist, like Watanabe, is preoccupied with thoughts of death and spends much of the film searching for a way to give his life meaning in its final moments. Kiarostami’s use of ambiguity and open-ended narratives also mirrors Kurosawa’s approach in Ikiru, where the true impact of Watanabe’s actions is left somewhat unresolved.
Kurosawa’s influence can also be seen in the work of contemporary Japanese filmmakers such as Hirokazu Kore-eda. In films like “After Life” (1998) and “Still Walking” (2008), Kore-eda explores themes of memory, loss, and the importance of family, often focusing on ordinary characters who, like Watanabe, are seeking a sense of purpose in their lives. Kore-eda’s emphasis on the quiet, everyday moments of life and his humanistic approach to storytelling reflect the same concerns that are central to “Ikiru”. Both filmmakers share a deep empathy for their characters and a belief in the importance of human connection, even in the face of death.
The Philosophical and Cinematic Legacy of Ikiru
The philosophical impact of Ikiru extends beyond the realm of film, resonating with scholars, writers, and thinkers who grapple with the same existential questions that Watanabe faces in the film. Kurosawa’s exploration of life, death, and meaning in Ikiru inspires philosophical discussions about the nature of existence and how individuals can find purpose in a seemingly indifferent world.
In particular, Ikiru has been the subject of numerous philosophical analyses that examine its connections to existentialism, Buddhism, and Confucianism. Scholars have noted the ways in which Kurosawa’s film engages with existentialist thought, particularly the works of Jean-Paul Sartre and Albert Camus. Watanabe’s journey from despair to action mirrors the existentialist belief that individuals must create their meaning in a world that offers no inherent answers. At the same time, the film’s emphasis on compassion, selflessness, and the interconnectedness of human lives reflects the influence of Buddhist and Confucian ideas, which offer a more communal and ethical approach to living a meaningful life.
From a cinematic perspective, Ikiru has left an indelible mark on film history. Its innovative narrative structure, which shifts from Watanabe’s subjective experience to the more objective perspective of his colleagues, has influenced countless filmmakers and screenwriters who have experimented with non-linear storytelling and multiple points of view. The film’s use of visual metaphor and symbolism — such as the recurring image of Watanabe swinging on the playground in the snow — has also become a touchstone for filmmakers who seek to convey complex emotional and philosophical ideas through visual means.
Moreover, Ikiru’s legacy can be seen in its influence on the genre of the “social issue” film, which uses personal stories to explore more significant societal problems. Films like “One Flew Over the Cuckoo’s Nest” (1975), “Dead Poets Society” (1989), and “The Pursuit of Happyness” (2006) all deal with individuals who must navigate oppressive social systems in order to find personal redemption, much like Watanabe in Ikiru. These films, like Kurosawa’s, use personal narratives to critique broader societal structures, highlighting how individuals can resist dehumanising institutions and make a difference in the world.
Cinematography and Visual Storytelling in Ikiru
Kurosawa’s Visual Composition: The Art of Framing
One of the most remarkable aspects of Ikiru is Kurosawa’s use of visual composition to convey the film’s emotional and philosophical themes. Throughout the film, Kurosawa employs a range of framing techniques to reflect Watanabe’s internal journey, using the camera to capture the action and provide insight into the character’s state of mind.
In many scenes, Kurosawa places Watanabe in the centre of the frame, often in isolation from the other characters. This technique emphasises Watanabe’s loneliness and the existential isolation he feels as he grapples with his impending death. For example, in one early scene, Watanabe sits alone in a doctor’s office, staring blankly at an X-ray of his stomach. The stark composition of the scene, with Watanabe positioned in the centre of the frame against a blank, clinical background, visually underscores the emotional and philosophical void he feels at this moment.
Kurosawa also uses deep focus and long takes to create a sense of realism and emphasise certain scenes' emotional weight. In the scene where Watanabe first learns of his cancer diagnosis, for example, Kurosawa uses a long take that allows the camera to linger on Watanabe’s face as he processes the news. The use of deep focus in this scene, which keeps both Watanabe and the doctor in sharp focus, creates a sense of emotional tension as the audience is forced to confront the physical and emotional distance between the two characters.
In addition to his use of framing and composition, Kurosawa frequently employs visual metaphors to convey the film’s themes. One of the most iconic images in Ikiru is the scene in which Watanabe sits on a swing in the playground he helped build, gently swaying back and forth as snow falls around him. This image, which recurs throughout the film, serves as a metaphor for Watanabe’s acceptance of his own mortality and his newfound sense of peace. The swing, a symbol of childhood and innocence, represents the simplicity and purity of Watanabe’s final act, while the falling snow suggests the quiet, inevitable passage of time.
Lighting and the Use of Shadows
Lighting plays a crucial role in Ikiru, with Kurosawa using light and shadow to reflect Watanabe’s emotional journey and the film's broader themes. In the film's early scenes, when Watanabe is still living in a state of existential despair, Kurosawa often bathes him in harsh, artificial light, creating a sense of emotional sterility and detachment. This use of lighting reflects Watanabe’s emotional state, as he feels trapped in a life that has lost all meaning.
As the film progresses, however, Kurosawa begins to use softer, more natural lighting to reflect Watanabe’s emotional transformation. In the scenes where Watanabe starts to take action to build the playground, the illumination becomes warmer and more inviting, suggesting his growing sense of purpose and connection to the world around him. This shift in lighting mirrors Watanabe’s internal journey as he moves from a state of existential despair to one of acceptance and peace.
Kurosawa also extensively uses shadows in Ikiru, particularly in the scenes set in Watanabe’s office. The bureaucratic environment is often depicted in stark, shadowy compositions, with characters framed against dark, oppressive backdrops. This use of shadows emphasises the dehumanising nature of the bureaucratic system, which casts a figurative and literal shadow over the lives of those who work within it. Watanabe’s transformation, therefore, is visually marked by his movement from shadow into light as he breaks free from the oppressive forces that have constrained him and finds a sense of purpose in his final days.
Conclusion
Ikiru remains a towering achievement in the history of cinema. This film continues to resonate with audiences and filmmakers worldwide for its profound exploration of life, death, and the search for meaning. Akira Kurosawa’s masterful blend of existential philosophy, social critique, and humanistic storytelling results in a deeply personal and universally relatable film. Through the character of Kanji Watanabe, Kurosawa confronts the fundamental questions of human existence, offering a powerful meditation on how individuals can find meaning in a world that often seems indifferent to their struggles.
The film’s lasting impact can be seen in its influence on contemporary filmmakers, its place in the canon of world cinema, and its ongoing relevance to audiences who continue to grapple with the same existential questions that Watanabe faces. Whether viewed as a critique of bureaucracy, a reflection on the transient nature of life, or a meditation on the power of individual action, Ikiru remains a timeless masterpiece that speaks to the deepest concerns of the human condition.