**SPOILERS**
Notes by: Adam Harper
Date: 14th July 2024
Writer(s): Kazuo Ishiguro (based on Ikuru by Akira Kurosawa, Shinobu Hashimoto and Hideo Oguni)
Pages: 108
Genre: Drama
Score Card
| Plot | Characters | Tone | Writing | |
|---|---|---|---|---|
| Score | 4 | 4 | 4.5 | 4.5 |
Overall Score: 4.5
Plot Analysis
The screenplay opens by immersing us in the corporate world of London, seen through the fresh perspective of young Peter. Soon after, we meet Williams, an outsider and a Scrooge-like figure, whose journey resembles those in “Gran Torino” or “A Man Called Otto.” The story sets up its main subplot early on, around page 10, introducing the ladies from Chester Street. The narrative leverages nostalgia, particularly with paper filing systems, to satirise the bureaucracy of large institutions like councils.
The plot is streamlined, focusing primarily on Williams and his relationships with his staff, customers like the Chester Street ladies, his family, and ultimately himself. It’s captivating to witness Williams break free from the monotony of his job and start experiencing life anew. Even seemingly insignificant moments hold symbolic weight, underscoring Williams’ realization of his misguided life.
A pivotal shift occurs mid-story when Williams spends an afternoon with Margaret. This sweet and humanising scene, where Williams begins to recognize how much of his life has been wasted, marks the transition to the story’s second half. While some might argue that the time jump from July to August is the midpoint, I believe it is Williams’ afternoon with Margaret that truly sets the stage for the latter part of the narrative.
The pacing is engaging, with time jumps and smooth transitions that avoid bogging down the viewer with procedural details. The story doesn’t linger on Williams’ suffering or Michael’s reaction to his death, trusting the audience to fill in those emotional gaps. The film is well-rounded, well-paced, and emotionally resonant, neatly wrapping up its plot-lines. Though not a Hollywood blockbuster, it follows conventional storytelling beats, which explains its positive reception.
Character Analysis
Peter’s introduction as just another figure in a sea of suits subtly sets him apart, highlighting his unique, fresh presence. Williams, on the other hand, is an inwardly driven character, providing rich dramatic potential. The screenplay employs British sarcasm and passive remarks, adding depth to character interactions, encapsulating what is often referred to as the ‘English reserve.’
We don’t delve deeply into the backstories of characters other than Williams, but we learn enough to understand their roles and appreciate their presence. Williams serves as both the protagonist and the antagonist of the story. While the Chester Street women might appear as antagonists from the Council’s perspective, Williams’ journey of separating his identity from his business persona to an individual is what makes his arc poignant.
Williams’ rebellion, perspective shift, and shedding of life’s burdens to reveal his authentic self is a compelling transformation. This character arc resonates on a personal level, reflecting the stresses and trivial irritations of life. The story’s baton passes fluidly among characters, keeping each one interesting and likeable. Though Williams might be seen as the protagonist, Peter is crucial in driving the plot forward after Williams’ death.
Tone Analysis
In just two blocks of action, the screenplay effectively establishes the era, location, and class of its world. This familiar yet bygone London sets the stage for an escapist journey to another time and place. The grand setting is complemented by succinct dialogue that reveals character and social nuances through polite yet pointed exchanges.
The story’s humour and situations are steeped in ‘Britishness,’ with characters maintaining politeness even as their actions contradict it. Williams’ terminal illness and his emotionally stunted life underscore the story’s theme, prompting reflections on what it means to live and what is truly important. Comparisons to “The Remains of the Day” are apt, given Williams’ stoic demeanour during emotional moments.
I feel there is so much more I could say about tone, but, my points are spread throughout this review which is a compliment to just how effective the writing is at bringing together all of the essential elements of great screenwriting.
Writing Analysis
The screenplay vividly portrays London’s classic genteel middle-class culture, complete with black suits, umbrellas, and hats. The dialogue is period-appropriate, enhancing the setting. Subtle directorial elements enrich the visual storytelling, such as the introduction of Margaret Harris, which deftly avoids overemphasis.
Scenes are efficiently written, adhering to the ‘arrive late, leave early’ principle. For instance, Williams’ diagnosis scene is brief yet impactful, conveying significant plot and character information without unnecessary exposition. The title “Living” prompts contemplation on its deeper meaning.
Flashbacks are used effectively, with dates aiding in timeline clarity. Transitions between scenes are seamless, exemplified by Williams asking Margaret to the cinema and the immediate cut to their arrival. The sudden shift from Williams dealing with the Chester Street case to his funeral is a masterstroke, making his death a poignant surprise.
The writing style is elegantly executed, making the script a pleasure to read. It avoids indulgence and demonstrates impressive word choice, serving as an inspiration for aspiring screenwriters.
Summary / Feedback
“Living” is a superb script that is emotional, sad, funny, and poignant. Its language and structure suggest it could also work well as a stage production. While it may break some traditional screenplay rules, such as shifting the protagonist or killing off the protagonist before the story ends, it proves that compelling storytelling can transcend conventional boundaries. Every scene either establishes character or advances the plot, validating the notion that rigid adherence to rules is less important than engaging storytelling.
In summary, the individual elements of “Living” coalesce to create a highly effective narrative. Even if the story isn’t universally appealing, serious screenwriters will find much to admire and learn from in this script.