29 Jan Living Review

LIVING

dir. Oliver Hermanus, starring Bill Nighy, Aimee Lou Wood, Alex Sharp, and Tom Burke

Living, an adaptation from the 1952 Akira Kurosawa-directed film Ikiru (which itself was inspired by the 1886 Russian novella The Death of Ivan Ilyich), stars Bill Nighy as Mr. Williams, a stuffy, off-putting civil servant veteran pushing papers during the rebuilding of Britain post World War II. To his subordinates he’s an unapproachable man, the very definition of bureauracy. To his son and daughter in law, he’s nothing more than the source of their money. Upon learning he’s been stricken with a fatal illness, Mr. Williams reevaluates his life and decides it’s time to make changes.

Starring Bill Nighy as Mr. Williams, Living is fully his movie to command. His gentle manner of speaking, polite mannerisms, and deliberate movements comprise a character that can’t help but be loved. Always game for great character work, here he’s front and center, playing possibly the best role of his career. Nighy’s internal performance commands those around him, always drawing the viewer’s attention regardless of the goings on in the scene. Initially frosty, with the British stiff upper lip that could be cliched if handled by those with less respect to the source material, it’s Nighy’s transformation to sweet gentleman that moviegoers get to follow and enjoy. In the end, of the dozens of movies I’ve seen him in, Living is by far my favorite of his.

Also starring Aimee Lou Wood as Miss Margaret Harris, her chemistry with Nighy is a lynchpin to the film’s success. Bright, bubbly, and clear eyed, Wood represents a zeal for life and vigor long past Mr. Williams. Their relationship is a tender one, with Ms. Harris standing in for the child Mr. Williams wishes he had. The wistfulness on Nighy’s face while interacting with Wood makes for some of the best scenes, with Wood’s playfulness balancing Nighy’s somberness.

Directed by Oliver Hermanus, Living shows the director fully come into his own. Having touched on many elements in his works to include war, loneliness, and homosexuality, with Living Hermanus turns his talents to exploring the quality of a well lived life. Hermanus paints the film as an incredibly human one, directing Bill Nighy to an Academy Award nomination by displaying him as a gentle soul ruminating on his past decisions and choice made that lead him to his present state. Cinematographer Jamie D. Ramsay (District 9, See How They Run) brings a gentle touch to the film’s visuals, using the sunlight to paint a London of decades ago in its natural beauty. All this care, both with the story and its visual elements are complimented by composer Emilie Levienaise-Farrouch, who’s bittersweet pianos and strings are all but guaranteed to elicit a powerful emotional response from audience.

Overall, Living is a masterpiece of a film. A captivatingly subdued performance from Bill Nighy, along with Oliver Hermanus’ directing reminds audiences that some of the best movies are about the examination of the human spirit and reflection on a life worth living. The heart and warmth Aimee Lou Wood brings to the film, a representation of the spirit and vitality of youth, pairs with Nighy’s worn down, tired delivery in a way that’s heartwarming, humorous, and delightful. Kazuo Ishiguro’s script provides the perfect portrayal of 1950’s London and gives audiences a little something to think about as the story closes. Living is currently in limited theaters.

Review by Darryl Mansel