Yves here. Satyajit was sent with some brain money, as the fictional treatment of death cannot be described as “easy”. He makes one of my favorite films, Ikiru, stand out, and spares us bromides like Love Story.
Satyajit Das is a former banker and author of many works on derivatives and several mainstream titles: Traders, Guns & Money: Knowns and Unknowns in the Wonderful World of Derivatives (2006 and 2010), Extreme Money: Masters of the Universe and the Cult of Risk (2011), Banquet of Consequences RELOADED (2021) and Fortune’s Fool: Australia’s Choices (2022). His latest book is about ecotourism and the human-wildlife relationship – Wild quests (from 1 May 2024). A version of this post first appeared on The New Indian Express Online
In 2022, Oliver Hermanus directed the film – Life. Written by novelist Kazuo Ishiguro and starring British character actor Bill Nighy, it is set in post-war England and revolves around a civil servant diagnosed with a terminal illness. He wants to fix a sad life of peaceful desperation with the last act of redemption – to build a children’s playground in a poor neighborhood that has been repeatedly disrupted by a sclerotic bureaucracy that is taught to say ‘no’.
This film is a remake of the 1952 film Ikiru directed by Akira Kurosawa inspired by Leo Tolstoy’s 1886 novel. Death of Ivan Ilyich. The remake, which speaks to the sad lack of originality and creativity in much art today, is a pale imitation of the original which is rightfully considered one of Kurosawa’s masterpieces.
Ikiru includes a strange death scene that director Hermanus repeats. The original set the benchmark in cinematic death depictions. Leaving aside the comic book bang-bang shoot’em up blood and action thrillers, the film’s portrayal of mortals is difficult. It is difficult to avoid provocative delay, overly graphic images or cowardice. The choice between people and pathos is fragile. The same goes for sex scenes in movies.
There are a few interesting death scenes in movies. Ridley Scott’s 1982 finale The Bladerunner – i Tears in the Rainsequence – is remarkable. A short song spoken by the character Roy Batty (played by Rutger Hauer): “I’ve seen things you people won’t believe… Attack ships with fire from the shoulder of Orion… I’ve watched C-beams in the dark near the Tannhäuser Gate. All those moments will be lost in time, like tears in the rain… Time to die.”
The often quoted speech speaks of a surprisingly insightful examination of what death means. Everything a person has seen or experienced is erased as if it never happened. The context of the words, as death is our common destiny, is troubling. Written by David Peoples, Hauer changed the dialogue to create a lone death trope.
Its power is enhanced by the framework of symbols within the sequence. Batty saves Deckard (Harrison Ford) who intends to kill him. Batty’s words as she rescues Deckard with an act of kindness: “What an experience it is to live in fear, isn’t it? That’s what being a slave is.” It captures the fear of death that affects us all. Batty is also seen holding a white dove. The reference to Wagner’s writings is interesting. His hand was pierced by a nail. The clues to the crucifixion are strong.
On the other extreme is the comical death scene in Blake Edwards’ inexplicable and unfunny 1968. The party designed for the development talents of Sellers. In a sequence known as the Bugler Who Will Never Die, Hrundi V. Bakshi (revealed by Sellers of blackface makeup that will raise the hackles of the politically correct today) takes forever to die after multiple shots and after the director shouts “cut” in an attempt to get more screen time to show his thespian beauty. Hrundi also accidentally detonated a huge set rigged with explosives, ruining the film. It’s funny but not serious.
In his magisterial trilogy, Bengali film director Satyajit Ray has created several powerful death scenes. They all involve the death of the family of the central character – Apu. The death of Durga, her sister, is caused by a violent storm. The death of his parents is on another plane entirely. The mother of the sick boy, Sarbajaya, is in her garden as night falls. The background fades until only the fireflies are visible. Then, they also faded to black indicating his death. As Apu’s father Harihar lies dying, there is a loud applause. The camera captures the doves in flight as he takes his last breath, releasing his breath.
In Akira Kurosawa’s book Ikiru, the death of the main character Watanabe Kenji (played very well by Shimura Takashi) is magical. He is sitting in the gym in the park, where the dying officer fought to build. It is snowing. Watanabe quietly reflects on the playground that is his last achievement. The swing is then filmed going backwards and forwards with nothing to show his death. The soundtrack – Kenji playing a traditional dirge – continues to play.
Death ends the cycle. First pictures on Ikiru a close-up of an x-ray of Watanabe’s stomach cancer and his shocked face as he sees his fate. The final sequence shows him alone again, without family or friends, without recognition or reward, but at peace with himself.
Life is preparation for death. Hamlet saw the need to be ready for the end, which comes when he chooses or is chosen. Ikiru paradoxically it means life.
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