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Paul Wong - Ikiru From An Existential Positive Psychology Point of View
Paul Wong - Ikiru From An Existential Positive Psychology Point of View
Ikiru
(1952)
Reviewed by
Paul T. P. Wong
Daniel Gingras
The 1952 classic film Ikiru is considered Akira Kurosawa’s greatest directorial achievement.
The title literally means to live. It is a story about how to live in the face of impending death.
It is a dark but life-affirming film, providing a compelling case of existential positive
psychology (EPP; Wong, 2009) by exposing the dark side of human existence to awaken us
to the potential of authentic meaning and happiness.
Ikiru does not give viewers any cinematic elevation (Niemiec & Wedding, 2008); in
fact, it is disconcerting and depressing. Yet, in a curious way, Ikiru leads us through an
uplifting existential journey of the protagonist’s self-discovery and personal redemption.
The Cinematic Achievements of Ikiru
The universal story line of Ikiru is bolstered by exceptional directing and performance. The
film has two parts. The first part addresses the subjective struggles of the main character,
Watanabe, and his quest for meaning. It begins with a narrator who informs us that
Watanabe has been diagnosed with terminal stomach cancer. The narrator wonders whether
the protagonist has simply passed his time without living his life.
Watanabe’s downcast eyes reveal the dark deadness on the inside. He is all alone
behind his desk, going through the same slow, mechanical motions of stamping papers with
his official rubber stamp. When the film cuts to his home scene, he is kneeling before the
family altar dedicated to his deceased wife. The film then picks up on his failure to
reconnect with his estranged son and his subsequent explorations for meaning.
The second part begins with the narrator announcing Watanabe’s death and funeral
wake. This segment consists of flashbacks of people describing how their lives have been
affected by Watanabe’s final self-sacrificial act of creating a park from a cesspool. Their
testimonies validate the transformation of Watanabe foreshadowed at the end of Part 1. The
film ends with an epilogue.
Takashi Shimura plays Watanabe perfectly. His unspoken words speak volumes. It is
all in the eyes: the grief, the pain, and other deeply felt emotions. His every move is precise.
He walks slowly, with his shoulders slumped and his body stooped and stiff. His
transformation in the last six months of his life is equally compelling.
The doctor who examines Watanabe’s test results asks a pointed existential question: “What
would you do if you only have six months left to live?” Ikiru affirms that regardless of how
hopeless the situation, one still can lead a fulfilling life, but there are important lessons to be
learned.
Inasmuch as we hate suffering and fear death, these existential givens are essential for
human flourishing. It takes the terror of death for one to discover the beauty of life; it takes
adversity to discover one’s strengths. Watanabe finds peace and happiness in the darkest
moments of his life. A disillusioned writer whom he meets at a bar points out the important
duality principle: “I realize what they say about the nobility of misfortune is true because
misfortune teaches us the truth. Your cancer has opened your eyes to your own life. We
humans are so careless. We only realize how beautiful life is when we chance upon death.”
Watanabe learns that neither everyday busyness nor earthly delights can rescue him from his
private hell; he needs to discover a mission that is worth dying for. He teaches us that the
ontological mode of living can be attained only when one dares to live authentically and
yield unconditionally to what life demands of us. Self-transcendence is the key to
fulfillment. Viktor Frankl (1984) long ago identified self-transcendence as an indispensable
human capacity for meaningful living, especially in trying times.
Ikiru shows us the process of transforming the terror of dying of cancer into the triumph of
authentic living. This process entails the following key stages:
Conclusions
The film suggests that initially Watanabe’s primary concern is to defend himself against the
terror of death (Pyszczynski, Greenberg, & Solomon, 1999), but he is able to overcome and
transform the fear of death primarily through his quest for meaning. It is difficult to
understand his newfound passion for living without recognizing the importance of meaning
(Wong, 2007).
Akira Kurosawa has created a moving portrait of the universal human struggle for
meaning in a harsh and absurd world. As such, it still resonates today. Everyone can benefit
from watching and reflecting on Ikiru. We believe that this film may be particularly
beneficial to those who have been diagnosed with a terminal illness. Ikiru can also be used
as a teaching tool for psychologists and those in medical professions.
References
Frankl, V. E. (1984). Man’s search for meaning. New York, NY: Simon & Schuster.
Niemiec, R. M., & Wedding, D. (2008). Positive psychology at the movies: Using films to
build virtues and character strengths. Cambridge, MA: Hogrefe & Huber.
Pyszczynski, T., Greenberg, J., & Solomon, S. (1999). A dual-process model of defense
against conscious and unconscious death-related thoughts: An extension of terror
management theory. Psychological Review, 106, 835–845. doi:10.1037/
0033-295X.106.4.835
Wong, P. T. P. (2007). Meaning management theory and death acceptance. In A. Tomer, G.
T. Eliason, & P. T. P. Wong (Eds.), Existential and spiritual issues in death attitudes
(pp. 65–88). Mahwah, NJ: Erlbaum.
Wong, P. T. P. (2009). Existential positive psychology. In S. Lopez (Ed.), Encyclopedia of
positive psychology. Malden, MA: Wiley-Blackwell.
PsycCRITIQUES January 13, 2010, Vol. 55, Release 2, Article 9
1554-0138 © 2010, American Psychological Association