"To Live (1952)" Movie Review Essay & Film Analysis

Man, indeed, almost never think about what it means to live in deep, philosophical sense of the word. Moreover, as we know, there are several reasons: 1. He is a living being with all its consequences. This means that he will see and select in the environment only what is of practical interest, which is beneficial, comfortable, helpful, etc. In any subject, in any situation, any act or gesture he is able to estimate only utility factor / hostility, but not the thing itself entirely. 2. Of course, a person can be re-wean and deterministic nature of the world (see. Christianity a big deal), but here's the problem ... The medium itself today is focused on the complete neglect of issues of death and nothingness. Its regularity, regularity, order and security, entertainment and take care of themselves, Oblivion (office work, regular meals, shopping, even the traffic rules!) It only reinforces the usual sensomotrnuyu scheme irritation analysis-reaction, bringing it to perfection and actually making a person in the living dead. Together with other life is all-powerful reasons, invincible and elusive God, which is almost impossible to overcome ... And Kurosawa is well understood.
why he deliberately avoids excessive pathos and epic. Although at first the story is presented as a kind of over-romanticized story about the death of this man ( «Ecce homo human Behold, unhappy." - says a friend of the waitress character). But that's the genius of Kurosawa that the film gradually disappear one by one all too exaggerated elements. It remains only suffering lonely, old man, Watanabe-san and his amazing unshakable determination.
regard to the latter, many would argue that it is due to the emergence of the consciousness of the imminent demise of the hero (and argue his men gathered at the wake). But the director makes it clear - this factor is not a catalyst, but rather an inhibitor! E. The disease are additional burden, the difficulty (to a million other things) that he must again and again, day after day, overcome by moving to the target.
But, it seems that the goal is not only God knows how significant. Do not change the world, not to create a new philosophical system or change the political regime ... And only build a playground. Again Kurosawa displays feature story in the plane of our reality. After implementation, so paradoxically modest scale, the problem turns out to be a truly heroic act in the already described
our strict sensorimotor schemas world first that overcomes the character -. It sensomotrnuyu copy, simulacrum, a cliche of itself (with the help of a young, chaste, clean and healthy in body and spirit the girl - a former worker in his department). This, as well as its unshakable determination perplexing colleagues and bosses (and even bandits), who are forced to retreat in the face of his fortitude, true and inner source of human power, the doers of the subsoil withered, hunched (notice how the hero stronger slopes to the ground, quieter, but all the more convincingly says), senile body.
impossible not to notice features of Kurosawa's style. Almost the entire film is built on close-ups that sometimes lasts almost five minutes. But read on the face of Watanabe? Fear, surprise, shame ... But here's a picture on his grave ... Close-up ... determination, calmness. It is also interesting that the last five minutes of paintings recreate the image of the pieces of memories Watanabe colleagues (reception brilliantly tested in "Rashomon"). Gradually, he finally clears and appears in all its depth as a colleague at work, as well as the audience. Directed by deliberately putting them on one level, showing that the protagonist for his colleagues as not real, as it is for us ... Valid only world where you need to earn money to live. And this is just a story ... So after all?

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