Toshiro Mifune, Takashi Shimura, Minoru Chiaki

As Akira Kurosawa's I LIVE IN FEAR begins, Harada (Takashi Shimura), a soft-spoken dentist, is summoned during a hot summer day to his volunteer position at the Tokyo Family Court. He dutifully respon...( read more  read more... )ds and arrives to hear a family dispute in a sweltering court room. However, the case is far from clear-cut; it involves Nakajima (Toshirô Mifune), a rich elderly industrialist who is utterly convinced that his family will only be safe from the threat of the nuclear bomb by moving to Brazil. His relatives (including his wife and various daughters, sons, mistresses, and illegitimate children) are almost unanimously opposed to his plan and aim to have him declared "incompetent," which would negate his authority over both the family and his company. Although the bullheaded Nakajima does come across as bitter and eccentric, Harada begins to empathize the curmudgeonly man and his almost paralyzing fear of the atomic bomb. When the judgment is finally made, it sets off a tragic series of events that will leave both Nakajima and Harada irrevocably changed.

Filmed less than a decade after the bombing of Hiroshima and Nagasaki, I LIVE IN FEAR, upon its Japanese release in 1955, tapped into a national and global mood of anxiety and apprehension. A drastic departure from Kurosawa's previous film, the highly successful and acclaimed SEVEN SAMURAI, this somber drama features the fiery 35-year-old Mifune transformed into a world-weary 70-year-old with only the benefit of minor make-up. His portrayal of the cantankerous Nakajima is utterly convincing and stands as one of his most remarkable performances. As always, Shimura plays an excellent counterpart to Mifune as the pensive doctor, torn by duty and his own conscience. Also known as RECORD OF A LIVING BEING, Kurosawa's bleak tale is a poignant story of humanity pushed to the breaking point by its own horrific inventions.

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386 ratings

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67% liked it

9 critics

Unrated, 1 hr. 53 min.

Directed by: Akira Kurosawa

Release Date: October 22, 1955

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Flixster Reviews (37)


  • October 23, 2009
    I live in fear is not typical of Kurosawa's work but it is probably one of his most important films. A reaction to and a social commentary on Hiroshima, a subject avoided at the time, Kurosawa opened up Japan's usual conservative attitude and lead debate on societies fear and anx...( read more)iety and in doing so built bridges of understanding with the western world. Mifune is brilliant in a role unfamiliar and unusual for him, and although the film is one of Kurosawa's least popular, it just might be one of his greatest performances. He is joined by the ever brilliant Shimura once again, although he really doesn't get enough screen time for my liking. Not Kurosawa's most exciting film but he is one of the greatest filmmakers of all time, so that doesn't mean much, this is still an amazing and important piece of cinema.
    performances. He is joined by the ever brilliant Shimura once again, although he really doesn't get enough screen time for my liking. Not Kurosawa's most exciting film but he is one of the greatest filmmakers of all time, so that doesn't mean much, this is still an amazing and important piece of cinema. I live in fear is not typical of Kurosawa's work but it is probably one of his most important films. A reaction to and a social commentary on Hiroshima, a subject avoided at the time, Kurosawa opened up Japan's usual conservative attitude and lead debate on societies fear and anxiety and in doing so built bridges of understanding with the western world. Mifune is brilliant in a role unfamiliar and unusual for him, and although the film is one of Kurosawa's least popular, it just might be one of his greatest performances. He is joined by the ever brilliant Shimura once again, although he really doesn't get enough screen time for my liking. Not Kurosawa's most exciting film but he is one of the greatest filmmakers of all time, so that doesn't mean much, this is still an amazing and important piece of cinema.
    ?If the birds and the animals knew what we know, they would leave?
  • May 27, 2008
    this is a very profound film. mifune nails his portrayal of an old man losing his grip, and you see that he doesnt genuinely go crazy because of the reasons his family thinks he's crazy, he goes crazy because of his family themselves. shimura's character was great and even unde...( read more)rused, and he is the character with the real moral dilema that the audience can relate to. very good and different film.
  • March 19, 2008
    Certainly not Kurosawa's best this is another example of his fear of nuclear disaster. Also apparent in Dreams. The paranoia aspects are as true today as they ever were but the film comes off too heavy handed and preachy. There is certainly a hell of a lot to love about this film...( read more) and I'm sure at the time of realease it was very relevant. Wonderful performances if a slightly uneven script.
  • February 4, 2009
    Un autre film moins connu de Kurosawa, qui mérite cependant de l'être davantage, en ce qu'il cerne extrêmement bien l'essence de l'ère post-atomique japonaise au travers de l'histoire d'un patriarche terrorisé par l'idée d'une attaque nucléaire, qui tente de fuir au Brésil avec t...( read more)oute sa famille. Je dis que le film cerne extrêmement bien l'époque, mais en fait je devrais dire qu'il en donne une idée plus intelligible pour qui n'a pas vécu l'événement de première main.

    Il s'agit de l'un des premiers (sinon le premier) films à traiter directement du sujet de l'attaque nucléaire sur le Japon, et plutôt que de verser dans le drame de manière démesurée, Kurosawa montre quand même les deux types de réactions possibles, sans jamais réellement prendre position ou avancer une thèse précise. C'est, bien évidemment, l'une des forces du film, qui s'attaque davantage à l'individualisme qu'à la folie nucléaire à proprement parler.

    Toshiro Mifune est bluffant dans le rôle du vieil homme avec son maquillage et ses mimiques d'entêté, même si sa gestuelle un peu exagérée rappelle parfois plus celle d'un singe que celle d'un vieillard... Mais il tient quand même pas mal le film sur ses épaules, et la scène finale est excellente, en particulier le dernier plan qui reste imprimé dans la mémoire par ses qualités de composition et sa puissance narrative. Selon moi c'est un film qui mérite une plus grande reconnaissance.
  • April 5, 2008
    Interesting concept with an important social commentary. Still, it remains one of my least favorite Kurosawa films. A few memorable images and a strong performance from Mifune can not save this film from feeling somewhat dull.
  • April 4, 2008
    Sounds interesting..
  • March 26, 2008
    I'm getting kind of afraid about reviewing I Live in Fear (IRONY!) because this was the first of the movies that I asked Flixster to add. I'm just worried that a bombardment of all the other movies that I haven't reviewed will start showing up in my Inbox. *sigh*

    It's...( read more) been a while since I actually watched this, but it was really top notch. This really summarizes the Postwar Kurosawa box that Eclipse put out a while ago. This is about a real phobia and mood that was going on in Japan. And why wouldn't it make sense to be going through this? Honestly, the atomic bomb is perhaps the most destructive man-made force on earth. To say that it is deadly is one of the greatest understatements of all time. It's only natural that Akira Kurosawa addresses this topic that would be personally affecting his life.

    But here's where Kurosawa shows his mastery once more. Most "PSA" films (like the abysmal Oscar-winning Crash) just SCREAM their topic and say what they want to get across extremely directly. These movies are usually made to get Oscars in themselves because they have a message. I believe that Hollywood should give messages, but let the story tell itself. That's what Kurosawa does with this film. He tells the story of a very realistic man dealing with something that is far beyong his comprehension. The fact that he is obsessed with moving to Brazil because it is safe there is (deal with this term) absurd reality.

    I am a little leary, however, of blackfaced Asians. I don't know what kind of racism that is, but it certainly is somewhat racist...kind of.

    ANYWAY, this movie has a fantastic ending that is one for the books. Toshiro Mifune's performance at the end is absolutely killer and I don't know how I can describe it to do it justice. The visual landscape that Kurosawa brings into this movie is striking and it burns quite the image in your head. You get to see how obsession with health and family, while seeming to be innocent and optimistic, is actually a greedy mentality and can destroy those around you. I love how the family seems to be greedy and selfish, but are contrasted in the end as the people who have a point to their arguement.

    The one qualm I really had with the movie is the subplot of the dentist and his role in the entire affair. I understand why he was there, to play the role of the audience member making decisions, but we really see far too much of his life to really drive the story forward.

    Everything else, though? Top notch!

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