Remakes are generally not a great idea, are they?
So many of them arrive with scorn and hate because they are expected to be destined to “ruin” the original. That is a tough expectation to overcome for any film. That kind of bad reaction as a default is not easy to navigate and the expectation becomes astronomical to reach or surpass them. There are plenty of motivations to remake a film (most of them are green of course) but I have strong feelings that there are only certain situations where a remake should be acceptable. The first is obvious. The original was bad! But it may have that potential to be interesting or the concept was just that good and the execution was even worse. But the more challenging and generally bigger undertaking is seeing a new perspective or approach where you can add value to a film that is already good. New effects can elevate it in our present time. You can tackle the core themes and ideas from a new perspective or more modern sensibility. Then there is uprooting it to another place and time that can fundamentally shift the story and film to create something worth experiencing.
How is Oliver Hermanus’ Living that last example?
To start, this is a remake of an absolute classic and masterpiece by Japanese icon, Akira Kurosawa. Ikiru is a special film for Kurosawa as it is a deeply moving human drama from a legendary director who is most known for his work in the samurai genre. The core of the story is a bureaucrat is told he has a terminal illness, and he must process this and find value in the remaining time of his life.
Ikiru is such a Japanese film and that is how Hermanus offers something fresh. Living is a purely English film.
This story is transplanted into 1950s London and leans heavily into it.
How characters process these dramatic turns is done with stiff upper lips and English-reserved approaches. That fundamentally morphs the story in a fresh and intriguing way. The screenplay from Kazuo Ishiguro does not dive as deep into the same level of despair that Kurosawa does but that does not torpedo the film. Living can stand on its own and its own approach to the specter of impending death.
How does Ishiguro’s screenplay match up to the original?
The overall story beats are there as this man struggles with his impending fate and he finds purpose in an unexpected little park. The way that this film captures the frustrations and barriers of bureaucracy would make Terry Gilliam and his Brazil impressed. This adds weight to the process that Williams (our protagonist) must go through to make this park happen. The character dynamics with his son, daughter-in-law, colleagues, and an inspiring young woman are pitch-perfect and ripe with drama to flesh out. This film packs plenty into its 100-minute runtime as it can capture the themes of meaning in life and death in an accessible and poignant way. The way the film captures the human approach to grief and remembrance is endearing and moving as this remake can handle the nonlinear structure of the original with grace. There might not be as much descent for our lead in this remake as the original, but the emotion hits all the same.
Hermanus has a track record of creating quite poignant cinematic experiences (like Moffie) but is he able to translate this film with such grace?
Mostly that is accomplished. There is a heavy reliance on the slow motion which I am not sure is 100% necessary, but it does allow the audience to take in all the impressive technical aspects of this film. The production design whisks the audience away to 50s London perfectly, but the costumes are quite immaculate. I was in awe looking at how striking and beautiful the wardrobes are in this film. London might be sunnier than it has ever been, but this film is just gorgeous. Hermanus also knows how to capture raw emotion and to pick up on the subtleties when our English lead tries to keep things tight to the chest. The film progresses with great emotion, including an inspiring later scene that captures the serenity that Williams can achieve through this little park.
Speaking of Williams…how great is Bill Nighy?
A great talent who has been an under-appreciated gem in so many works. He steals Love Actually. He is one of the most impressive villains to grace the silver screen as Davy Jones. He just might be my favorite dad in the film with his beautiful and tender performance in About Time. But it is Living that Nighy’s career comes to a head and captures our heartstrings with his tender touch. His quiet command is felt in his leadership role in the government. His demeanor is reserved and respectful. But when his news arrives, the emotions begin to pour. There are multiple moments where Nighy can show his command of emotion and he absolutely soars. The rest of the cast do their supporting jobs great including two strong supporting turns from young up-and-coming stars Aimee Lou Wood (in particular) and Alex Sharp.
Did Hermanus, Ishiguro, and Nighy capture magic in a bottle with this remake?
The emotions are flowing, and the Oscars better be watching.
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Living is destined to fly under the radar for so many and that is quite a shame. This is a richly textured world of 50s London where one man struggles with his fate and makes a difference in the process. What a win for remakes out there. This is how it is done.
