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I Live in Fear (1955)
"Ikimono no kiroku" (original title)

 -  Drama  -  25 January 1967 (USA)
7.4
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Ratings: 7.4/10 from 2,193 users  
Reviews: 24 user | 32 critic

An aging, industrialist Japanese man becomes so fearful of nuclear war that it begins to take a toll on his life and family.

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Title: I Live in Fear (1955)

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Cast

Cast overview, first billed only:
...
Kiichi Nakajima
...
Domestic Court Counselor Dr. Harada
Minoru Chiaki ...
Jiro Nakajima
Eiko Miyoshi ...
Toyo Nakajima
Kyôko Aoyama ...
Sue Nakajima
Haruko Tôgô ...
Yoki Nakajima
Noriko Sengoku ...
Kimie Nakajima
Akemi Negishi ...
Asako Kuribayashi
Hiroshi Tachikawa ...
Ryoichi Sayama
Kichijirô Ueda ...
Mr. Kuribayashi father
Eijirô Tôno ...
Old man from Brazil
Yutaka Sada ...
Ichiro Nakajima
Kamatari Fujiwara ...
Okamoto
Ken Mitsuda ...
Judge Araki
Masao Shimizu ...
Yamazaki, Yoshi's husband (as Gen Shimizu)
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Storyline

Kiichi Nakajima, an elderly foundry owner, is so frightened and obsessed with the idea of nuclear extermination that his family decides to have him ruled incompetent. Nakajima's fervent wish is for his family to join him in escaping from Japan to the relative safety of South America. Harada, a civil volunteer in the case, sympathizes with Nakajima's conviction, but the old man's irrational behaviour prevents the court from taking his fears seriously. Written by Jim Beaver <jumblejim@prodigy.net>

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

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Details

Country:

Language:

Release Date:

25 January 1967 (USA)  »

Also Known As:

I Live in Fear  »

Filming Locations:


Company Credits

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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

The music score was completed by Masaru Satô when composer Fumio Hayasaka died during production. See more »

Connections

Referenced in Rhapsody in August (1991) See more »

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User Reviews

 
compelling take on King Lear themes
4 November 2002 | by (chicago) – See all my reviews

This is a surprisingly complex film that continues to build and grow right before your eyes. Some of the action and plot mechanism may need to be "accepted" to work, but once you realize that this is not merely an exercise on moral judgements, but a very sly re-working of familiar King Lear themes, the film's power and nuances become evident. For all those who see Kagemusha as a high point, and Ran as a huge failure, they may seek solace in this film, which pushes the trope of the rash old man, who has become so accustomed to getting and doing what he wants, that he cannot and will not accept his extended family's naysaying and interference. A really great film.


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