فیلم زیستن درباره مردی یه نام کانجی واتانابه است که به مدت ۳۰ سال در یک شغل دولتی فعالیت کرده و اکنون زندگی یکنواخت و کسل کننده‌ای را سپری میکند. اما زمانی که کانجی متوجه میشود به سرطان معده مبتلا شده و کمتر از یک سال برای زندگی فرصت دارد، تصمیم میگیرد تا به زندگی کوتاه خود معنای دیگری داده و…
درباره فیلم:
زیستن یا ایکیرو (Ikiru) که با نام (To Live) نیز شناخته می شود یک فیلم دراماتیک محصول سال 1952 کشور ژاپن به کارگردانی آکیرو کوروساوا است که توسط کمپانی Toho Company تولید و منتشر شد. نویسندگی این فیلم را نیز آکیرو کوروساوا، شینوبو هاشیموتو و هیدئو اوگونی به صورت مشترک برعهده داشته و بازیگرانی چون تاکاشی شیمورا، مینورو چیاکی، میکی اوداگیری، نوبو کانکو، کاماتاری فوجی‌وارا، هارو تاناکا، ایکو میوشی و غیره در آن به ایفای نقش پرداخته‌اند. همچنین این فیلم که اقتباسی از رمان «مرگ ایوان ایلیچ» نوشته نویسنده معروف روسی، لئو تولستوی محسوب میشود اولین بار در تاریخ ۹ اکتبر سال ۱۹۵۲ در کشور ژاپن منتشر گردید و پس از حضور در جشنواره‌های بین المللی متعدد موفق شد برنده ۵ جایزه از جمله جایزه Special Prize of the Senate of Berlin برای بهترین کارگردانی و جایزه Kinema Junpo Award برای بهترین فیلم شده و نامزد دریافت ۲ جایزه دیگر از جمله یک جایزه خرس طلایی برلین Golden Berlin Bear و یک جایزه بفتا برای بهترین بازیگر خارجی نیز شود؛ جالب است بدانید موضوع اصلی این فیلم یادگیری نحوه زندگی، ناکارآمدی بوروکراسی اداری و وخامت زندگی خانوادگی در ژاپن میباشد که مورد تحلیل دانشگاهیان و منتقدان قرار گرفت و با استقبال گسترده از سوی آن‌ها روبرو شد. فیلم زیستن موفق شد امتیاز 8.3 از 10 را از سایت معتبر IMDB دریافت کند. شما هم اکنون میتوانید این فیلم دیدنی و جذاب را با لینک مستقیم نیم بها و رایگان از رسانه فست مووی دانلود کرده و لذت ببرید.
About Film:
Ikiru is a 1952 Japanese drama film directed and co-written by Akira Kurosawa and starring Takashi Shimura. The film examines the struggles of a terminally ill Tokyo bureaucrat and his final quest for meaning. The screenplay was partly inspired by Leo Tolstoy’s 1886 novella The Death of Ivan Ilyich. The major themes of the film include learning how to live, the inefficiency of bureaucracy, and decaying family life in Japan, which have been the subject of analysis by academics and critics. The film has received widespread critical acclaim, and in Japan won awards for Best Film at the Kinema Junpo and Mainichi Film Awards. It was remade as a television film in 2007. Kanji Watanabe has worked in the same monotonous bureaucratic position for thirty years and is near his retirement. His wife is dead and his son and daughter-in-law, who live with him, seem to care mainly about Watanabe’s pension and their future inheritance. At work, he’s a party to constant bureaucratic inaction. In one case, a group of parents are seemingly endlessly referred to one department after another when they want a cesspool cleared out and replaced by a playground. After learning he has stomach cancer and less than a year to live, Watanabe attempts to come to terms with his impending death. He plans to tell his son about the cancer, but decides against it when his son does not pay attention to him. He then tries to find escape in the pleasures of Tokyo’s nightlife, guided by an eccentric novelist whom he has just met. In a nightclub, Watanabe requests a song from the piano player, and sings “Gondola no Uta” with great sadness. His singing greatly affects those watching him. After one night submerged in the nightlife, he realizes this is not the solution. The following day, Watanabe encounters a young female subordinate, Toyo, who needs his signature on her resignation. He takes comfort in observing her joyous love of life and enthusiasm and tries to spend as much time as possible with her. She eventually becomes suspicious of his intentions and grows weary of him. After convincing her to join him for the last time, he opens up and asks for the secret to her love of life. She says that she does not know, but that she found happiness in her new job making toys, which makes her feel like she is playing with all the children of Japan. Inspired by her, Watanabe realizes that it is not too late for him to do something significant. Like Toyo, he wants to make something, but is unsure what he can do within the city bureaucracy until he remembers the lobbying for a playground. He surprises everyone by returning to work after a long absence, and begins pushing for a playground despite concerns he is intruding on the jurisdiction of other departments. Watanabe dies, and at his wake, his former co-workers gather, after the opening of the playground, and try to figure out what caused such a dramatic change in his behavior. His transformation from listless bureaucrat to passionate advocate puzzles them. As the co-workers drink, they slowly realize that Watanabe must have known he was dying, even when his son denies this, as he was unaware of his father’s condition. They also hear from a witness that in the last few moments in Watanabe’s life, he sat on the swing at the park he built. As the snow fell, he sang “Gondola no Uta”. The bureaucrats vow to live their lives with the same dedication and passion as he did. But back at work, they lack the courage of their newfound conviction.
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