Vivre

I had no preconceptions or expectations when I went to see this film. I left the cinema feeling deeply moved, alongside a range of emotions including sadness and joy, amidst a sense that I had just been immersed in one of the best cinematic works of art in a very long time. In the jaded world of today's cinema where nothing is really new anymore, and movies peddle the Incredible, with disappointing over the top drama, this film's simplicity was its outstanding and defining feature. Accompanied by a haunting soundtrack, it tells the very human story of a man (Nighy) who has six months left to live and how he chooses to make his mark and get satisfaction from celebrating the ordinary and achieving a modest but much loved and celebrated goal. The performances were outstanding in their subtlety (who knew Nighy had such a beautiful singing voice), and the direction by Hermanus was perfect - designed to tell a simple story and get the best from the actors without being obtrusive or distracting. The setting in 1950s London, portraying a world of grey bureaucracy mirrors today's corporate, health, and social care world's perfectly, with the final message to embrace and accept that which "doesn't quite fit" sending a humorous yet pointed message to us all.

Definitely bring the tissues - but celebrate it too as one of the best films in years.

Before watching this, I have often thought of Brief Encounter as the quintessential film on English repression.

I have to add this. And it (openly, honestly) echoes the Lean classic in other ways, including a piano classical piece alongside steam engine imagery in the first act.

And what a lead performance. I've never been blown away by Nighy before. This is incredible. Every crushing moment, every unspoken word, every flinch. I was right there with him.

The closing imagery is beyond beautiful. And stay for the credits, with a beautiful rendition of a song that features in the story (and breaks your heart).

If you ever feel untethered, purposeless, this may mean an awful lot to you. It does to me.

Cinema is a great medium for urgent storytelling because people pay attention. "Living" executes beautifully in creating an environment that is easily understood with a character that isn't over-dramatized to definitively share a message that lies at the heart of this story; purpose. Purpose in relationships, work, passion, and of course, in living life. Bill Nighy is convincingly composed and patient in expressing his emotions in the midst of a life-altering realization that never sways the authenticity of his performance. The score is strong, but not overpowering and the cinematography is simple, yet pleasingly complementary to the set design of 1950s London. In a world where excitement drives entertainment, it's the grounded nature of this story that will drive lasting reflection.

A little slow paced for my taste, but I can't deny that Bill Nighy displayed a masterclass in subtle acting. Also I found it quite interesting that he took the role after sharing a taxi ride with the screenwriter Kazuo Ishiguro who pitched him right in the spot. That's pretty confident of Nighy to accept the role after such an encounter, but yeah, what a great decision on his part. Other standouts on the performance end of things include Aimee Lou Wood and Alex Sharp. They have a bright future ahead of them and I can't wait to see what they choose next. Also shout out to the musical score which helped bolster the emotions and kept me awake.

Over the years Bill Nighy has become one of my favorite actors. My earliest recollection of him was 20 years ago in "Love Actually", where he played Billy Mack, a washed-up musician who makes a hit Christmas recording. He has a certain style and it resonates with me.

During this filming he was 71 or 72. Here he is the main character, Williams, who is the long-time boss of a small group in the London County offices in the early 1950s. All the men wear Bowler style hats. Williams is always very quiet and very polite, he keeps an arms distance from his crew, not even riding in the same train car to and from work.

As he grew into an adult all he really aspired to was being a Gentleman. Traditionally, an English gentleman was the lowest rank of the gentry, similar to the French nobleman. He worked diligently, was friendly to everyone, but seemingly had no interests outside work. He even had a distant relationship with his married son who still lived with him.

Then he received the diagnosis, he only had a few months to live. His first reaction was to make up for lost time, to meet strangers and have fun. But that was an empty exercise. Of note, during the "fun" a lady stole his Bowler hat, he replaced it with a Fedora, a new style for him, which was a sign of his new perspective. He would do something meaningful before he was gone, he would push through a community project that had been pigeonholed for too long.

So it is really a character study of this simple but complex man, Williams. It works very well. It is a remake of the highly regarded 1952 Kurosawa movie "Ikiru". My wife and I enjoyed it at home on DVD from our public library.