Living.

Living was the last English-language Oscar nominee on my list of movies to see, since I’m not interested in seeing Avatar and the only other nominees of note I haven’t seen are three of the International Feature picks. Scoring nominations this year for Best Actor (for Bill Nighy, his first) and Best Adapted Screenplay (for Nobel Prize-winning author Kazuo Ishiguro), this adaptation of Akira Kurosawa’s famed Ikiru is a quiet gem of a film, with a tour de force performance from its star and some lovely dialogue supporting him. It’s available to rent on amazon, iTunes, etc. (Full disclosure: I have never seen Ikiru.)

Nighy plays Mr. Williams, a widower and an aging bureaucrat in in the London County Council in the 1950s whose job seems to consist primarily of pushing paper around, especially when it can be pushed to another department on another floor. He never declines a request, merely passing the buck (or quid, I suppose) to someone else. His staff includes the young Miss Harris (Aimee Lee Wood), the lone woman in the group; the eager, brand-new employee Mr. Wakeling (Alex Sharp); and a few other replacement-level men who show no desire whatsoever to challenge the existing system.

This is all upended when Mr. Williams receives a terminal cancer diagnosis, with just months left to live, and finds himself terribly dissatisfied with his life. His son and daughter-in-law show little interest in him as a person, and he doesn’t seem to have any friends. He has no legacy to leave, no one who will truly miss him, so after vanishing from work for several days, he decides to take on one particular project that has been presented to his department and kicked around the building that he can see to fruition: turning a bombed-out building into a playground. His attempts to live a little also bring Miss Harris into the picture, as he takes her to lunch once or twice, and to a film, in an entirely chaste relationship that she can’t understand and that his daughter-in-law, with help from the neighborhood gossip, assumes is something more prurient. The film jumps ahead around the midpoint to show his funeral, after which we see flashbacks to the last few months of his life and the way his family and co-workers respond to his death. Their words and their behavior don’t exactly line up, although this might be the most authentic part of the entire script.

This is Bill Nighy’s film. I’ve always enjoyed his work, and argue just about every year that his story is the only remotely acceptable one in Love Actually, in large part because he treats the film with the reverence it deserves – none. He was outstanding in the British mini-series State of Play, and even charming in the ridiculous The Best Exotic Marigold Hotel. This is the role of a lifetime, and he gives a performance to match it. His Mr. Williams is restrained, so constipated in speech that he’s hard to understand, but it makes the moments of actual emotion so much more powerful, even though he’s still actually kind of hard to understand. (Turn the volume up. Just a tip.) Nighy is often at his best in patrician roles, even though that’s not his upbringing, but here he gets a more consequential role in which to deploy that high-born air.

The script takes its time hitting its points, which appear to mirror those of the original film (based, I admit, on my reading of the latter’s Wikipedia entry), including a long, slow buildup to the doctor’s visit that defines the whole movie. That works because the dialogue is so precise – every word seems placed there for a specific purpose, especially those that come out of the mouth of Mr. Williams, yet these words never come across as forced, or out of character. Ishiguro is one of the greatest living prose writers, yet even across his novels, his voice changes to suit the style and genre of the work. Living is his work without sounding like his work, and the result is that Mr. Williams’ grief and revelations and enthusiasm for his one last project come through as genuine.

Nighy became an Oscar nominee at age 72, which Collider says puts him in the top ten for oldest such first-timers, forty-two years after his first credited film role. This is too un-showy of a role to win the honor – I’m surprised he even got the nomination, given how quiet and unpretentious he is as Mr. Williams – but he was certainly better than the fat-suit guy and the Elvis impersonator. Aimee Lee Wood, who is one of the stars of Sex Education, also gives a lovely turn in a smaller role as Miss Harris, serving as the unwitting confidante and comforter to Mr. Williams, while Alex Sharp, who bears more than a small resemblance to Matthew Murphy of the Wombats, is perfect as the wide-eyed innocent who hasn’t yet been ground down by the do-nothing mentality of the office. I’m not sorry to see Ishiguro lose out to Sarah Polley for her adapted screenplay of Women Talking, but both were quite deserving.

For those who are still curious about such things, I’ve got this in my revised top ten for 2022, at #9, just behind Tár and ahead of La Caja and Nope. I still have to see EO, Close, The Quiet Girl, and Return to Seoul, all of which are at least now out as rentals.