| Cast overview, first billed only: | |||
| Takashi Shimura | ... | Kanji Watanabe | |
| Shin'ichi Himori | ... | Kimura | |
| Haruo Tanaka | ... | Sakai | |
| Minoru Chiaki | ... | Noguchi | |
| Miki Odagiri | ... | Toyo Odagiri, employee | |
| Bokuzen Hidari | ... | Ohara | |
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Minosuke Yamada | ... | Subordinate Clerk Saito |
| Kamatari Fujiwara | ... | Sub-Section Chief Ono | |
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Makoto Kobori | ... | Kiichi Watanabe, Kanji's Brother |
| Nobuo Kaneko | ... | Mitsuo Watanabe, Kanji's son | |
| Nobuo Nakamura | ... | Deputy Mayor | |
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Atsushi Watanabe | ... | Patient |
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Isao Kimura | ... | Intern |
| Masao Shimizu | ... | Doctor | |
| Yûnosuke Itô | ... | Novelist | |
Kanji Watanabe is a civil servant. He has worked in the same department for 30 years. His life is pretty boring and monotonous, though he once used to have passion and drive. Then one day he discovers that he has stomach cancer and has less than a year to live. After the initial depression he sets about living for the first time in over 20 years. Then he realises that his limited time left is not just for living life to the full but to leave something meaningful behind... Written by grantss
Ikiru ("to live")is a Kurosawa film devoid of samurai or Toshiro Mifune. It is an oddity in his canon, neither an adaptation, nor an epic, or even a detective story. Instead, it is the simple and touching story of the last months of the life of a man, Watanabbe, public official, who decides to give a meaning to his life by transcending the obtuse and stiff mind of government bureaucracy to get a small public children's park built. As a parable for the soulless workings of modern bureaucracy, the goal is set pretty high, and Kurosawa goes even further, giving this story a lot of character, frequent humor, life and, most of all, heart. And going beyond the strengths of the direction and script, is the central performance by Takashi Shimura (later Kambei in Seven Samurai). Shimura gives his character such a transparently good heart and such great pain that every second of Watanabe's plight and struggle tugs at your heart, not in an overwhelmingly sentimental manner, but in one than feels honest and pure. If even many hardened souls will be drawn to tears, it is not for pity, but, admirably, because of envy for Watanabe's beautiful human dignity in the end, and for a film to have such power is beyond pure accomplishment, as the need to see this and, more importantly, feel it, goes beyond pure necessity...