| Photos (see all 15 | slideshow) |
| Takashi Shimura | ... | Kanji Watanabe | |
| Shinichi Himori | ... | Kimura | |
| Haruo Tanaka | ... | Sakai | |
| Minoru Chiaki | ... | Noguchi | |
| Miki Odagiri | ... | Toyo Odagiri, employee | |
| Bokuzen Hidari | ... | Ohara | |
| Minosuke Yamada | ... | Subordinate Clerk Saito | |
| Kamatari Fujiwara | ... | Sub-Section Chief Ono | |
| Makoto Kobori | ... | Kiichi Watanabe, Kanji's Brother | |
| Nobuo Kaneko | ... | Mitsuo Watanabe, Kanji's son | |
| Nobuo Nakamura | ... | Deputy Mayor | |
| Atsushi Watanabe | ... | Patient | |
| Isao Kimura | ... | Intern | |
| Masao Shimizu | ... | Doctor | |
| Yûnosuke Itô | ... | Novelist | |
| Kumeko Urabe | ... | Tatsu Watanabe, Kiichi's Wife | |
| Kin Sugai | ... | Housewife | |
| Eiko Miyoshi | ... | Housewife | |
| Fumiko Honma | ... | Housewife | |
| Yatsuko Tanami | ... | Bar Hostess | |
| Yoshie Minami | ... | The Maid | |
| Kyôko Seki | ... | Kazue Watanabe, Mitsuo's wife | |
| Kusuo Abe | ... | City Assemblyman | |
| Tomoo Nagai | ... | Newspaperman (as Tomo Nagai) | |
| Seiji Miyaguchi | ... | Yakuza Boss | |
| Daisuke Katô | ... | Yakuza | |
| Miki Hayashi | ... | Second Yakuza | |
| Fuyuki Murakami | ... | Newspaperman | |
| Hirayoshi Aono | ... | Newspaperman | |
| Junpei Natsuki | ... | Hand-Washing Cancer Patient | |
| Toranosuke Ogawa | ... | Park Section Chief | |
| Akira Sera | ... | Worker in General Affairs | |
| Ichirô Chiba | ... | Policeman | |
| Akira Tani | ... | Bar Owner | |
| Yoko Kajima | ... | Worker in Sewage Section | |
| Haruko Toyama | |||
| Mie | ... | Woman in Dance Hall | |
| Sachio Sakai | ... | Yakuza | |
| Toshiyuki Ichimura | ... | Pianist | |
| Harue Kuramoto | ... | Dancer | |
| Lasa Saya | ... | Stripper |
Directed by | |||
| Akira Kurosawa | |||
Writing credits(in alphabetical order) | ||
| Shinobu Hashimoto | writer | |
| Akira Kurosawa | writer | |
| Hideo Oguni | writer | |
Produced by | |||
| Sojiro Motoki | .... | producer | |
Original Music by | |||
| Fumio Hayasaka | |||
Cinematography by | |||
| Asakazu Nakai | |||
Production Design by | |||
| So Matsuyama | |||
Makeup Department | |||
| Sadako Okada | .... | hair stylist | |
Production Management | |||
| Teruo Maki | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Hisanobu Marubayashi | .... | chief assistant director | |
| Teruo Maru | .... | assistant director | |
Art Department | |||
| Yoshirô Muraki | .... | assistant art director | |
Sound Department | |||
| Ichirô Minawa | .... | sound effects editor | |
| Fumio Yanoguchi | .... | sound recordist | |
Camera and Electrical Department | |||
| Shigeru Mori | .... | lighting technician | |
| Takao Saitô | .... | assistant camera | |
| Masao Soeda | .... | still photographer | |
Other crew | |||
| Akira Araki | .... | accountant | |
| Hiromichi Horikawa | .... | advisor to the director | |
| Teruyo Nogami | .... | script supervisor | |
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| Ikiru | Big Fish | Le temps qui reste | Looking for Palladin | Who Will Love My Children? |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb Japan section |
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Probably one of the most difficult aspects a film like "Ikiru" has to overcome is the very rough march of time. To actually find someone these days, let's say a crowd of regular movie-goers to sit down and watch a film about an old Japanese man dying of cancer would be too much to ask.
Long held shots, hardly uplifting subject, to westerners very foreign. An array of reasons not to see it. And yet, once you actually start getting into the picture it doesn't let you go. Which is why it may be rightfully considered to be a classic.
Of all of Kurosawas film this is probably the one movie that works perfectly on an universal level. Because at its core it is about one of the most basic desires of human existence...namely to be able to look back on your life and say "It was worth it."
In its starch and unforgiving black-and-white form the movie records the time of one man's life in such a beautiful and yes, colorful way, that by the time the final moments of the film play out, it will be very hard for anybody not to be touched. A glorious moment in 20th century cinema, that will hopefully be preserved for decades to come.