The protagonists Watanabe and Locke both undergo personal transformations in their respective films, Ikiru and The Passenger, in search of their own meaning of life. Though Watanabe and Locke are both undergoing personal transformations, the philosophical significance of their experiences differs. When the film introduces Watanabe the audience learns he has spent over twenty-five years of his life as a bureaucrat dedicating his time to City Hall. Watanabe has never missed a single day of work; yet, he stamps thousands of papers and never truly accomplishes anything. It appears the bureaucrats spend their time transferring papers back and forth through different sectors within City Hall, avoiding the citizen’s complaints. This is apparent
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In The Passenger, Locke is in an African country filming a political documentary of the current events surrounding the recently gained independence. While Locke is creating the documentary he befriends a well-traveled seemingly happy man, David Robertson, who looks eerily similar to Locke and is staying in the same hotel. Unlike Locke, Robertson is not married, spends his time traveling the world, and appears genuinely happy. Robertson is found dead by Locke after experiencing a heart attack, and subsequently, Locke decides to switch identities with Robertson. Locke’s personal transformation conjures arguments towards personal identity. Locke fully commits to becoming David Robertson by following his schedule and adapting to his way of living. Nonetheless, Locke is never capable of completely taking on Robertson’s identity; instead, Locke has the personal identity of himself, Locke, and Robertson. Physically it is possible for Locke to appear to an outsider as Robertson, and he is able to adapt to the life of Robertson; yet, Locke still has all of his own memories, way of thinking, communicating, and behaving. It is impossible for Locke to fully transform into Robertson because there is no way for him to have all of Robertson’s memories and furthermore, his mental capacity. In the final scene of The Passenger it is hinted through retelling the story of the blind man that Locke is aware he can’t continue living as someone else. Personal identity is much more than physically appearing or living a particular way, it delves into consciousness and moral
In The Passenger, Locke is in an African country filming a political documentary of the current events surrounding the recently gained independence. While Locke is creating the documentary he befriends a well-traveled seemingly happy man, David Robertson, who looks eerily similar to Locke and is staying in the same hotel. Unlike Locke, Robertson is not married, spends his time traveling the world, and appears genuinely happy. Robertson is found dead by Locke after experiencing a heart attack, and subsequently, Locke decides to switch identities with Robertson. Locke’s personal transformation conjures arguments towards personal identity. Locke fully commits to becoming David Robertson by following his schedule and adapting to his way of living. Nonetheless, Locke is never capable of completely taking on Robertson’s identity; instead, Locke has the personal identity of himself, Locke, and Robertson. Physically it is possible for Locke to appear to an outsider as Robertson, and he is able to adapt to the life of Robertson; yet, Locke still has all of his own memories, way of thinking, communicating, and behaving. It is impossible for Locke to fully transform into Robertson because there is no way for him to have all of Robertson’s memories and furthermore, his mental capacity. In the final scene of The Passenger it is hinted through retelling the story of the blind man that Locke is aware he can’t continue living as someone else. Personal identity is much more than physically appearing or living a particular way, it delves into consciousness and moral