When you consider that the London-set Living is adapted from the 1952 Japanese, film Ikiru, in itself inspired by a Russian novella, and directed by the South African Olivier Hermanus, there is an internationality to the entire production that could run the risk of becoming lost in translation culture lines. But this story of youth, life and tremendously maintains its potency in one of the year's most profoundly moving and genuinely touching features.
When the bureaucratic Mr Williams deserves the news that he is facing a fatal illness, his entire outlook on life begins to change as he reconsiders the life he has led and the legacy he wants to leave behind. Living features Bill Nighy in the starring role with support from Aimee Lou Wood, Alex Sharp and Tom Burke.
For a film that rarely registers much above a whisper, Living leaves a lasting impression. A beautifully crafted and thoughtfully considered exploration of life's purpose presented with such rich texture, there's an elegiac nature to Hermanus' Living that feels both heartbreaking and life-affirming in equal measures. Successfully striking the balance between the deeply existential themes and a hopefulness that brings much-needed warmth to the piece, Living weaves such a moving tapestry of a man's past, present and future that it is hard not to be bowled over by how well-executed it is.
It is remarkable that London is only just becoming the story's playground in this text iteration, for Living is presented with such a strong sense of place that you would not be foolish to believe that it originated in the UK's capital. Jamie D. Ramsay's beautiful cinematography is crucial in depicting the trudging post-war British spirit that has caused a man like Mr Williams to become so squarely fixated on his routine and subsequently allowed life to pass him by. Emilie Levienaise-Farrouch's score - a beautiful composition imbuing a melodic melancholy - takes the feature to even greater heights.
There's no doubt that Kazuo Ishiguro's screenplay is pondering some heady themes that could easily become dour and depressing in less capable hands. But executed in such a way that it feels both deeply personal to the character's unique set of circumstances yet universal in its assessment of a life and worth, there's an emotional affirmation to the picture which will remain with viewers long after the credits roll. Complete with some extremely poignant lines that many will take to their hearts, Ishiguro does a vital job of measuring the tone of the piece - sincere but never overly sentimental - to stunning effect.
While there's strong work across the board from each and every department, there really is one crucial element to Living which truly elevates it to the highest of heights: Bill Nighy is simply remarkable as Mr William, this brilliant career-fortifying performance deserves all the attention it is receiving and more. His straight-laced bureaucratic behaviour is tempered by a caustic wit and a real, surprising sense of heart as the narrative develops, to say nothing of the gentlemanly quality that naturally exudes from Nighy as a performer, crafting this multi-dimensional, complex character that could have easily felt one-note in less experienced hands. Performed with such earnestness, Nighy captures the realisation that time is fleeting and so deftly delivers a rousing ode to reassessing our actions to support the legacy we wish to leave behind. It is truly exceptional.
Aimee Lou Wood is really worth a mention too. It's not until she takes a more central role - when the relationship between Nighy and Lou Wood begins to evolve and the unlikeliness of the developing friendship acts as another of the film's gentle reminders to look for the light in the most improbable of events - that the film finds its feet. It can feel a little rocky before this but the film's refusal to waste a minute of its runtime after this little stumble is a particular testament to the warmth and generosity of Wood's supporting turn.
Living is a film of real craftsmanship, a thoughtful presented elegy to life and legacy that balances a melancholy with a hopefulness that renders it with far more complexity than it may initially be given credit for. With Bill Nighy delivering some of his best ever work in a career already worth celebrating, there’s so much life in Living that deserves to be seen.