Looking back, Ishiguro thinks the movie’s themes helped define his sense of the world. Even as a child, without having seen a frame of the film, Ishiguro felt a powerful connection to the story’s exploration of a man calcified by tradition who starts to reject his internal coding. Ishiguro staged what her son describes as “one-woman shows.” One was a version of Ikiru, an existential drama from the master director Akira Kurosawa about a deadened civil servant who discovers he has terminal cancer and embarks on a mission to make his life meaningful. Without access to cinema from Japan, Mrs. But they ended up staying, longer and longer, until England eventually stopped being a liminal place and started being home. in 1960, when young Kazuo was 5, for what was supposed to be a temporary stint while his father, an oceanographer, conducted research. The Ishiguros moved from Nagasaki to the U.K. B efore Kazuo Ishiguro published a single word, let alone collected such a series of accolades that each threatens to outdo the last-the Booker Prize, a knighthood, the Nobel Prize in Literature-he was a boy in the pleasant English commuter town of Guildford whose mother would act out the plots of Japanese movies she loved.
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