生之欲 Living

实际上中规中矩的剧情片，但在电影节大荧幕看气氛烘托得太好了导致人一下就哭出来，还哭个不停，男主演技真的绝。 尾声雪地里他独自坐在秋千上快乐的唱歌，在新建好的儿童乐园里，有一架秋千停在原地，像是孩童在等待母亲回家的呼唤。

对于黑泽明现代题材作品，始终有个观点：当事件矛盾属性达不到足够力道，只在面临婚变造谣等民事纠纷而非自杀复仇绑架等刑事重案，那么其古装武士片中特别出彩的演员情绪化表演和导演风格化运镜，就会显出一种“大材小用施力过度”。此问题在白痴和丑闻中比较突出，经典如生之欲也未能幸免。虽然故事涉及生死议题，可毕竟只是生老病死相对温和的低冲突潜质，所以志村乔知癌后失魂落魄形如僵尸的演法、灵堂上扫过麻木不仁同事嘴脸的运镜，就显得有些过分煽情或立场强加！欣喜地是，这些个人以为的叙事缺陷在英版中通通被克服。奈伊的绝望就表现的比较克制，死后其同事的自省虚伪也是由事件所触发而非以镜法强行定罪！可本片也有个绕不过的问题：生之欲故事的大开大合很符合双重极端的日本性格，却很难让人相信会发生在以冷静自嘲著称的英人身上……三星半

3 Sundance #3; Ishiguro gives Ikiru a sprinkle of poignancy distinctive in his literary works, and his screenplay successfully transplants this story to 1950s England, a period the director replicates aptly both in its appearance and its texture. However, Living does feel rushed at times and inevitably lives in the shadow of its Japanese counterpart. The first half of the film gives too little time to establish the setting, so while the life of Mr. Williams stands on itself, the final satire on the British bureaucracy comes especially less pointed and even disjointed from the rest of the film. Certain actions also feel out of space and added simply for being faithful to the original film

其实，我感觉原版已经算无可挑剔了，所以无论怎么改动心里都会觉得是画蛇添足，更别说把这个带着东方式内核的故事放在西方语境下。整个看下来只能说，虽然原版那股温柔不失力量的感觉仍有，却难以和角色产生共鸣。硬要说还可以的地方，就是偏古典的拍摄方法很有英伦范儿，还有就是比尔奈伊唱的那首The Rowan Tree

没有太大的突破，不够有自己的风格。