(Un)responsible work — for us
The topos and the corresponding film scene are well known: The protagonist is diagnosed with cancer and is confronted with the shattering news that they have only a few months to live. Rodney Williams, brilliantly played by Bill Nighy, has to face up to this news in the film “Living” (UK, 2022, Director: Oliver Hermanu, Script: Kazuo Ishiguro). Unsurprisingly, he initially seeks to find joy in his final days through gambling, alcohol abuse and women. However, this approach remains unsuccessful and fails to fill the void.
For a long time, he searches vainly for the deeper meaning of life, before he finally comes across it, ironically, in work and in helping others. Employed in London City Council’s construction department, he moves heaven and hell through personal commitment and advocacy within the administration enabling a neighbourhood initiative to build their playground for children. He transforms himself from an employee who only does duty by the book into a person who takes responsibility and wants to make a positive difference even in the face of opposition. The scene where the height of the stack of unfinished work is considered an unofficial work goal, in order to mark one’s own importance at work symbolically, is wonderful.
Williams succumbs to cancer in the beginning of the second half of the film, the rest of the film is devoted to the work achieved in his last days and its positive impact on his fellow man. But if you think it’s going to be schmaltzy here and everything resolves to a shallow happy ending, you’ll be bitterly disappointed with unexpected plot twists. A number of great speeches are made by his successor to his co-workers. One should swear in the name of his memory and act like him now. Yet, the actual actions of the successor are woefully different who falls back into the predictable routine of failing to take any responsibility. Another young employee — actually genuinely inspired and encouraged by Williams — also fails miserably in taking responsibility and remains silent when protest against the inactivity in the bureaucracy would have been an appropriate response.
The film irritates its viewers with the unsparing realization of how much easier it is not to take responsibility for and pride in one’s own work. Even good role models often do not have a lasting effect and it is difficult to anchor responsibility sustainably and structurally.
In our highly networked working world, where we often have to work together, it is easy to pass responsibility back and forth for any number of reasons. Moreover, in a working world that is increasingly co-determined by algorithms and AI, it is becoming increasingly more possible and commonplace to hide behind technology. CEOs have already sought to legitimise dubious business practices with algorithms that supposedly cannot be influenced. It is not unlikely that this will increase, as responsibility can now be shifted not only to employees, but also to AI.
The film may make viewers sceptical about whether we will be better at dealing with responsibility in the future. Despite all the scepticism, however, “Living” ultimately ends with a positive message. The hero’s final actions brought him joy and a fulfilling end to his life. We should not take on responsibility just to help others, because we help ourselves in a kind of egoistic altruism when we show initiative instead of sticking to the status-quo.
Bernd Käpplinger is Professor of Continuing Education at the Justus Liebig University in Giessen.
Living, UK, 2022, Oliver Hermanu, Trailer
Bill Nighy, Kazuo Ishiguro & Oliver Hermanus on Living, Film4
Living, UK, 2022, filmstill
© Sony Pictures
Living, UK, 2022, filmstill
© Sony Pictures
Living, UK, 2022, filmstill
© Sony Pictures
Living, UK, 2022, filmset
© Sony Pictures
(Un)responsible work — for us
The topos and the corresponding film scene are well known: The protagonist is diagnosed with cancer and is confronted with the shattering news that they have only a few months to live. Rodney Williams, brilliantly played by Bill Nighy, has to face up to this news in the film “Living” (UK, 2022, Director: Oliver Hermanu, Script: Kazuo Ishiguro). Unsurprisingly, he initially seeks to find joy in his final days through gambling, alcohol abuse and women. However, this approach remains unsuccessful and fails to fill the void.
For a long time, he searches vainly for the deeper meaning of life, before he finally comes across it, ironically, in work and in helping others. Employed in London City Council’s construction department, he moves heaven and hell through personal commitment and advocacy within the administration enabling a neighbourhood initiative to build their playground for children. He transforms himself from an employee who only does duty by the book into a person who takes responsibility and wants to make a positive difference even in the face of opposition. The scene where the height of the stack of unfinished work is considered an unofficial work goal, in order to mark one’s own importance at work symbolically, is wonderful.
Williams succumbs to cancer in the beginning of the second half of the film, the rest of the film is devoted to the work achieved in his last days and its positive impact on his fellow man. But if you think it’s going to be schmaltzy here and everything resolves to a shallow happy ending, you’ll be bitterly disappointed with unexpected plot twists. A number of great speeches are made by his successor to his co-workers. One should swear in the name of his memory and act like him now. Yet, the actual actions of the successor are woefully different who falls back into the predictable routine of failing to take any responsibility. Another young employee — actually genuinely inspired and encouraged by Williams — also fails miserably in taking responsibility and remains silent when protest against the inactivity in the bureaucracy would have been an appropriate response.
The film irritates its viewers with the unsparing realization of how much easier it is not to take responsibility for and pride in one’s own work. Even good role models often do not have a lasting effect and it is difficult to anchor responsibility sustainably and structurally.
In our highly networked working world, where we often have to work together, it is easy to pass responsibility back and forth for any number of reasons. Moreover, in a working world that is increasingly co-determined by algorithms and AI, it is becoming increasingly more possible and commonplace to hide behind technology. CEOs have already sought to legitimise dubious business practices with algorithms that supposedly cannot be influenced. It is not unlikely that this will increase, as responsibility can now be shifted not only to employees, but also to AI.
The film may make viewers sceptical about whether we will be better at dealing with responsibility in the future. Despite all the scepticism, however, “Living” ultimately ends with a positive message. The hero’s final actions brought him joy and a fulfilling end to his life. We should not take on responsibility just to help others, because we help ourselves in a kind of egoistic altruism when we show initiative instead of sticking to the status-quo.
Bernd Käpplinger is Professor of Continuing Education at the Justus Liebig University in Giessen.
Living, UK, 2022, Oliver Hermanu, Trailer
Bill Nighy, Kazuo Ishiguro & Oliver Hermanus on Living, Film4
Living, UK, 2022, filmstill
© Sony Pictures
Living, UK, 2022, filmstill
© Sony Pictures
Living, UK, 2022, filmstill
© Sony Pictures
Living, UK, 2022, filmset
© Sony Pictures
Unfiltered working realities. The apprenticeship of a skilled canner
A critical look at archival vocational guidance films can sharpen one's view of major changes in the world of work and occupations. Making, taking a closer look at a Swiss television report on the apprenticeship of canners from the 1960s, worth it.
Dystopias of the working world
After more than a century, Katharina Gruzei's reinterpretation of the very first film in film history, ‘Workers Leaving the Factory’, shows a grim picture of the world of work and gives food for thought: Has the situation of workers deteriorated so much and what kind of worklife are we even heading towards?
Night Mail — The focus on work
"Night Mail" (1936) was commissioned as an image publicity film by the British General Post Office and went down in film history as a ground-breaking documentary. Directors Harry Watt and Basil Wright succeed in creating an ode to workers and modern technology by enriching their naturalistic style within the film with poetic elements and always keeping the human aspect in mind.
Night Mail — The Poetic Gaze
When the eminent film scholar Amos Vogel was forced to flee Vienna to the United States in 1938, the 17-year-old had already made the decision to devote his life to film. One experience that would define his future was a screening of "Night Mail" (1936) and this film still doesn’t fail to impress today.
Bossnapping à la Cantona
In the last two decades in particular, disputes between management and workers in France have become increasingly intense. The so-called "bossnapping", the hostage taking of management, masterfully staged by Éric Cantona in the Netflix series ‘Inhuman Resources’ (2020), provides a telling example.
Eastern German Women. Self-realisation through employment
As a woman you always have to be better than the best man in the team. That's the minimum for a successful woman, where patriarchy works." This is how Maria Gross, a cook and restaurateur from Thuringia, sums up the situation of East German Women (2019) in a MDR-documentary by Lutz Pehnert.
