Ran

The 'Kurosawa' adaptation of King Lear in his film 'Ran' is a tremendous memorable film.

It is a very dramatic film with many soliloquies and dialogue, but if you are patient with it, you are treated to some of the most epic scenes of cinematic brilliance that Kurosawa made. After all it is Shakespeare and one must be patient with it if they are not a fan of the old school theatre.

Colourfull clashing armies, The lord awaiting his fate in a burning castle, a brilliant execution scene (I consider the BEST I have ever seen film ever), and the blind being left in the hands of Buddha?

While Seven Samurai will always be his perfection, Ran is more than an enjoyable movie that should be seen. Just stick with it and you'll never forget it.

Rating 9 out of 10.

Thankee kindly.

Kurosawa, while a great director, isn't somebody whose films I blindly endorse.

However, Ran takes the cake. It easily makes my personal top five films any time I think about it.

The imagery is absolutely stunning, and the dialogue is quite clever. The battle scenes are suitably horrific, and the humor (and yes, there is humor) is subtle enough not to get in the way.

All told, one of the greatest films it's been my privilege to see. I watched it to get the nightmare that was Cold Mountain out of my head, as proof that long movies can actually be epic, as opposed to boring, trite, and predictable.

Akira Kurosawa's 1985, Ran, is based one of Shakespeare's greatest works, King's Lear. The Film proudly stands along with his other classic such as Seven Samurai, Yojimbo, Roshomon, Sanjuro and the Hidden Fortress. He is a master in the art of filmmaking, no one can film an epic battle scene quite like Kurosawa. This is recognized as the most expensive film ever made by Akira Kurosawa, it was at that time, Japan's most expensive film ever. Being at the age of 75, he still showed us, he's one of the best in the business.

This movie is about an aging lord, head of the Ichimonji family, decides to retire and to pass the power to Taro, the eldest of his three sons. He will however have to banish Saburo, the youngest one, who dared to speak the truth to him. Soon, the former lord is chased away from the castles of his sons and becomes mad when he understands that one of his sons is trying to kill him. The three brothers are fighting for control of the Kingdom, as their lust for power grows every day. Four armies are facing each other on the prairie. Lord Ichimonji's former peaceful kingdom is nothing but a distant memory.

Akira Kurosawa redefines what an epic film is, with astonishing story telling, entirely believable characters and real life battle scenes without the use of Special effects/CGI. He retells the story of King Lear in his own way and no one would recognize that it was actually a adaptation beforehand. But just like Shakespeare, there is humor, irony, death and not a happy ending. Everyone who played a part in the production of this film, deserves some kind of recognition. The acting is pretty much excellent and certainly believable.

10/10 Kurosawa is a Genius

'Ran' is the Japanese word for chaos, riot, dissension. Akira Kurosawa's masterpiece is indeed a feast of destruction and perdition, charged with symbols and powerful in pictures like it is found very rarely in today's cinema.

The dusky story is based on Shakespeare's 'King Lear'. In the film a Japanese warlord celebrates his own downfall. Kurosawa devised this with a radical film language which works with certain imageries of colors, rapid cut sequences and a sophisticated sound design. When the colorful flags of the different armies get intermixed in a battle, when the peacefully quiet wind (which carries the soundtrack) swells to a raving storm or when long wide shots suddenly segue into shots of details that follow hot on each other's heels then you realize Kurosawa's incredible style which deeply influenced the cinema worldwide.

The drawings of the characters are equally terrific. Hidetora's jester is for a certain reason always at the side of the warlord. Their relationship alters as the film continues: Jester and warlord change their roles which makes it hard to distinguish both. Just as the sky turns from blue to grey with dark clouds, the violent past of Hidetora is catching up the aging lord. His trail of murder and predation is not forgotten, the brutally conquered land still carries the old scarves of war and exploitation which now burst out again.

The viewer can take this monumental work as a warning to the destructive power of war, which is even decades later at present and beset those who seed the violence.

Throughout his career Kurosawa strove to achieve what he called "real cinema", proclaiming that "in all [his] films, there's [only] three or four minutes" of such quality. Many would argue that he was his greatest critic. For if not in "Seven Samurai", then definitely in "Ikiru" and if not in "High and Low", then definitely in "Rashomon" he must have achieved this plateau of greatness. Well, if not in any of his other films, then definitely in "Ran" Kurosawa finally came to the apex of cinematic artistry. With the both lyrical and grandiose tone of its craft, its beautifully spare imagery, its haunting score by Toru Takemitsu, and its lead Tatsuya Nakadai's masterful understated performance, "Ran" is perhaps the most fully realized epic ever made.

The tale, which is an adaptation of Shakespeare's "King Lear", begins as Lord Hidetora Ichimonji and his court are out hunting. During a break in the hunt, Hidetora proclaims his adbication from the hight seat of the Great Lord and bestows his lands unto his three sons, dividing them up equally. He declares his oldest to be his successor in power. When his youngest son and one of his faithful nobles, express their concerns on this idea, Hidetora foolishly banishes them both, mistaking their advice as insolence. With this opening scene, the peaces are aligned and soon 'chaos' as the film is aptly named will break out throughout the land. From here, we see the downfall of Hidetora and all those who surround him. The film retains all the themes of the original play, but also thanks to Kurosawa's own input addresses a slew of even more varied ideas. Like Shakespeare, Kurosawa is greatly interested in the responsibility of the leader and the hypocrisies and ironies of an autocratic system. The most obvious though not the central theme in the whole film is war, and Kurosawa explores this theme to its full extent throughout the film. In perhaps the most grandiose battle scene every filmed, he demonstrates the destructive consequences and the paradoxical beauty of conflict.

Here, Kurosawa implements the camera with masterful skill not once employing the editing/photography tricks and gimmicks so often seen in films (even the good ones) today. This director has an awareness of the past and the history of film, but also the creative spontaneity of a true genius. In "Ran", he focuses on the more methodically simple yet artistically complex montage of Eisenstein, and on the strict compositions of Ozu. He employs the most basic and yet most artistic of techniques. Each shot is planned to precision, and each cut is made for a purpose. The coreagraphy and blocking of each scene is simple and powerful, and Kurosawa allows the actors to play out these scenes without the intrusion of the camera or the editor. Thus, the director prevents the style from eclipsing the already powerful material he has to work with. Simply put, "Ran" is a masterpiece that flows and develops like an opera, from its forebodingly peaceful ouverture to its bloody Shakespearean heart until its final, quietly subdued, and sorrowful denouement.