Ran Reviews and Ratings


  • garyX
    November 28, 2009
    garyX
    After a lifetime of conquest, ageing Lord Hidetora hands the reigns of power to his eldest son, but banishes his youngest when he questions the loyalty of his two brothers. When Hidetora is betrayed as Saburo predicted, he is left to wander the desolate lands his armies had ravag...( read more)ed in earlier times. Ran was the last of Kurosawa's great epics for which he was forced to seek financial backing outside of Japan where he was considered too old-fashioned. It is a loose adaptation of Shakespeare's King Lear and was clearly a very personal project for him. Unlike Lear, Hidetora is shown as a man repenting his past crimes, and on his wandering is constantly reminded of the life of conquest and butchery he had led up until this point. In fact everyone involved whose interests are in power and material wealth inevitably meet a sticky end and only his victims are shown to achieve any kind of peace. It is impossible not to compare Ran with his earlier works, and because he was virtually blind by the time this film was made, it misses his keen eye for composition and photography; despite the epic scale and colourful costumery, I personally preferred his black and white photography of his classics. The sets and costumes are as epic as the themes and it avoids the sentiment of a lot of Kurosawa's work, but I found Tatsuya Nakadai's performance a little too ripe for my tastes, and is as theatrical as his rather severe make-up. On the other hand the most formidable personality is to be found in the shape of Lady Kaede played by Mieko Harada who, unlike the coquettish Lady Asaji Washizu of Throne Of Blood, is a strong willed and wily adversary whose role turns the entire chain of events on its head. My criticisms are only born of the incredibly high standard of the rest of Kurosawa's work, and by any other it is a majestic period drama full of lush imagery and dark themes that leaves a lasting impression.
  • ElCochran90
    November 27, 2009
    ElCochran90
    "The failed mind sees the heart's failings..."

    RAN (1985)


    Director: Akira Kurosawa
    Country: Japan / France
    Genre: Action / Drama / War
    Length: 162 minutes

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    Ran is a triumphant masterpiece for the modern era. Following the steps that Akira Kurosawa had left behind since 1957 when he had adapted Macbeth in his film Kumonosu-jou (1957), Ran is noticeably different. Both projects are quite commonly compared, yet their respective focus and intentions are highly independent. It is also considered as one of the best and most ambitiously groundbreaking Shakespeare adaptations ever committed to celluloid. Such statement is not derived from the truth, and the main reason can be found in Kurosawa's visionary brilliance and inspirational originality. The attention towards action has considerably increased, imitating the epic samurai films he had created in the past; however, the power of this arguable opus has certain moralistic lessons that can still be applied to the audiences that nowadays abound in the world. That is the main source of Shakespeare's transcendent talent, and that is the main source of Kurosawa's unparalleled direction. With theatrical performances, thought-provoking brutalities and accurately sincere truths, it is one of the best Japanese films ever made, leaving aside its notoriously tragic atmosphere.

    Ran is Kurosawa's treatment of King Lear set in sixteenth-century Japan. The Great Lord Hidetora Ichimonji decides to abdicate to his three sons, Taro, Jiro, and Saburo, dividing his fief among them. His last wish is to live out his remaining years as an honored guest in the castle of each of his three sons in turn. However, the older brothers Taro and Jiro conspire against their father, trying to take advantage of Hidetora's retirement and attempting to even take his title while vying for power. On the other hand, the younger and honest son Saburo warns his father and receives hatred and mistreating for trying to confess the truth. The film received 4 Academy Award nominations for Best Costume Design, Best Art Direction-Set Decoration, Best Cinematography and Best Director, winning the first award and losing the last one against Sydney Pollack for his overrated film Out of Africa (1985). Surprisingly, the film won 25 wins in total and received 15 other nominations in several film festivals around the world.

    This could be fairly called as Kurosawa's last masterpiece. During the 80s, he had the specific characteristic of making each subsequent film as if it was his last one. In Ran, we witness the graciousness of a talented adaptation in order to represent the usual human faults that have always plagued the human nature throughout the decades. However, the typical introspectiveness of Kurosawa is lost; we are no longer taken into the middle of the action, and the minimalism of his past projects has been transformed into cinematic ambition. The main thematic elements of the film are mindless governments, the senselessness of careless overpowerment, madness, ambition, the power of family and the tragically negative implications of the lack of loyalty towards the family. Ran incarnates a modern society where the very nucleus of the society, that is the family, is destroyed, ensuing unstoppable and painful chaos and destruction. Tragedy derived from betrayal is portrayed as a monster that does not need any clear motivations whatsoever; the inexplicableness of human cruelty is the main source.

    As Kurosawa explained in a 1985 interview, the secret subject of Ran is the threat of nuclear apocalypse, treating such subject matter as a contemporary edge. It is suggested that the totalitarian control of masses and a violent war as the most necessary and supposedly adequate means to gain power, control, influence, admiration and land are the events that have led the characters (and us) to an inescapable catastrophe and a cruder recent reality. The glorious colored cinematography tries to retake the marvelous technical roots that always mostly defined action-oriented films like Shichinin no Samurai (1954) and the more contemporary Kagemusha (1980), fusing the dazzlingly varied colors of the last film mentioned with the tragic self-destruction of Kumonosu-jou (1957). Moreover, such tragic proportions have been ultimately maximized to an almost never-imagined degree, adopting a filmmaking style of noticeable stillness derived from prolonged shots. These shots hide a very discreet, yet very precise editing, this time taking us out from the middle of the action and witnessing the bloodily visual spectacle from an omniscient point of view, like if God was judging every single action of murder, betrayal, deception and developed warfare.

    As one may be led to think, the film is heavily oriented to action, and the notorious dose of violence display is visually charged with spellbinding artistry and significant substance. However, audiences curiously looking after this film specifically because of the action will be disappointed because of their interest being based on the wrong reasons. It is mainly composed by two major battle scenes. Usually the most famous scene and the one that usually stands out is the destructive attack at Saburo's castle. Ran is a parable for the actuality set in the Sengoku period of predominant civil wars, contrasting gorgeously-looking blood sprays with undeniable philosophy and hidden layers of complexity. In the process, a perfect balance between analytical character development and breathtaking action is created, spending more time in the first difficult task. However, the film adopted a much more tragic tone, even scratching the typical realm of melodrama. This outcome is not distractive, and the fact that this masterpiece is directly implying that, considering humankind's lust for power, we could be driven today to similar events to the consequences depicted here, is the true source of terror that asks us to consider that the technological advancement is a much bigger threat than it was before. Madness and insatiable power is just trigger's sparkle.

    The extraordinary costume design and the spellbindingly colorful art direction are just visual incentives that end up strengthening the ideals of Ran, "Ran" standing for "chaos". Once more, the concept of "antagonist" is subject to debate and the film itself is an extensively provocative analysis of the implications found inside a lustful, bad-intentioned family. Remarkable and theatrical performances decorate the madness and mayhem ensued from the decisions taken by the three sons, including the one that incarnates human's sincerity, not to mention the makeup that enhances Tatsuya Nakadai's desperation. It is also a testament against political insanity and the ridiculousness that the desperate attempts of family and social redemption involves, especially when an unstoppable chain of reactions has already been irreversibly unleashed. Despite the fact that Kurosawa was aiming towards a much more pretentious material, the power of Ran and its influential capacity has remained intact, orchestrating an opera of heavenly collisions between violins and pianos, and warfare of steel, fire and powder. It is one of the best films of all times. This is Kurosawa's furious manifesto.

    100/100
  • mrchewbacca
    November 4, 2009
    mrchewbacca
    This epic is visually
    magnetic!
  • caiojeremy
    November 1, 2009
    caiojeremy
    Grande épico. Uma adaptação de Rei Lear do Shakespeare nos moldes do Japão Feudal.
  • SonOfBacchus
    September 19, 2009
    SonOfBacchus
    excellent movie. good job akira
  • jscottcorley
    September 5, 2009
    jscottcorley
    Kurosawa is infallible. Great take on King Lear. Awesome use of color and scenery.
  • superspeedstripes
    August 15, 2009
    superspeedstripes
    Samurai make Shakespeare Awesome.

    Kurosawa makes everything awesome.

    Really stunning stuff. absolutely spellbinding and definitely the most violent PG movie i have ever seen.

    There really is nothing not to like.
  • BurtHarbinson
    August 10, 2009
    BurtHarbinson
    My god what a film.

    Epic on so many proportions. The perfect Shakespeare story for Kurosawa to reinvent. And that he did.

    I am in such awe, first and foremost, for the precision and execution of the battle scenes. Massive, massive attack scenes.. looks like people are dying le...( read more)ft and right in the making of these scenes. A wardrobe that must have cost millions, brilliant acting, and photography. Legend and Wikepedia have it, that this was the most expensive Japanese movie ever produced in 1985 at $12 million. It is also said that Kurosawa spent 10 years painting storyboards for Ran, to make sure every shot was perfectly planned. What meticulous work, that paid off on such a grand scale. This would probably explain why every shot looks like a painting. So perfect!

    Although Ran does not follow King Lear exactly, it all ends in death, and madness. Orson Welles played such a prodigious Lear, that it would have been hard to picture the king as someone else. However, the character 'Lord Hidetora' meant to represent King Lear, was amazing. Tatsuya Nakadai was completely mad, and had an very detailed make-up job to enhance the madness. Tatsuya Nakadai was everything you could possibly hope for in a King Lear, and even exponentially more. One of the best acting performances I have ever witnessed.

    Kurosawa is legend. There are not too many directors, that have ever been able to match his intensity for film, and obtain such perfection. You're being silly if you haven't watched this film yet.
  • cyberz3
    July 24, 2009
    cyberz3
    Akira Kurosawa's adaptation of Shakespeare's "King Lear.
  • basehat
    July 21, 2009
    basehat
    One of the first chambara films I watched, and surely one of the most moving. Vibrant colors and characters enhance the taste of warfare and conflict that emanates from every sentence of dialog.

    When you are ready to see one of the greatest films ever made, samurais or not, tak...( read more)e the night off and sit down with this masterpiece from the legendary director Kurosawa.
  • organgrinder136
    July 11, 2009
    organgrinder136
    akira kurosawa.... philosophy at its finest. obviously a shakespeare story as there's more killing than in a abattoir. such a great japanese adaptation
  • exureimundo
    June 21, 2009
    exureimundo
    Just about every one dies, and almost every one of them deserved it. Every 15 minutes I changed sides until I realized that this was a rare and unique story in which there are no such things as good guys or bad guys, just two groups that hate each other to the point of total madn...( read more)ess. Pure visual beauty throughout, absolutely mesmerizing.
  • urgit
    June 16, 2009
    urgit
    Considerada la obra magna del famoso director japonés, `Ran` cuenta la historia del anciano señor de la guerra Hidetora Ichimonji en el Japón feudal del S. XVI, que, viendo el ocaso de su vida cercano, decide repartir sus tierras entre sus tres hijos, ante los halagos de los dos ...( read more)mayores y la osadía y falta del respeto de Saburo, el pequeño, que le pregunta si acaso se ha vuelto loco al dividir todavía él en vida las tierras. Ante tales palabras, pronunciadas además en presencia de invitados, Hidetora destierra al menor de sus hijos y a su fiel criado, que serán recogidos por uno de los señores vasallos de Hidetora, mientras que decide repartir sus tierras entre los dos hermanos mayores, Taro y Jiro.

    A pesar de los avisos de su hijo Saburo, del propio bufón, o de sus más allegados, Hidetora renuncia a ser el jefe, pero conservando los beneficios de patriarca. Pronto verá como Taro, su primogénito, que se deja mangonear por su esposa, comienza a imponerle reglas a su padre y a exigir un trato preferencial aún en vida de Hidetora, como el mayor respeto frente a las mujeres del patriarca, queriendo inclusive la bandera o que se desmonte la guardia personal de apenas 30 soldados que sirve al señor. Repudiado por Taro, se dirige a casa de Jiro, quien le recibe a regañadientes, excusandose en que Taro no le deja acogerle y debe respetar al nuevo líder, que es el hermano mayor, frente a su padre, a lo que Hidetora se marcha de allí indignado, vagando por sus tierras sin alimento, puesto que los campesinos también han sido amenazados de muerte si le alimentan. Es en ese instante cuando aparece el criado desterrado del hijo menor, Saburo, y le ofrece alimento y ayuda a su padre, contemplando el viejo Hidetora, por fin, quién era el hijo sensato y el que le respetaba.

    Sin embargo, su orgullo le lleva a rechazar la ayuda y a refugiarse en el último de sus tres castillos, abandonado por Saburo, y cuya propiedad se disputan los otros dos hermanos. Jiro y Taro, cuando llegan al castillo y ven a su padre junto a sus tropas, deciden tomarlo por la fuerza y masacrar al viejo, pero milagrosamente, Hidetora sobrevive y tiene que ver como sus leales guardaespaldas, sus mujeres y sus concubinas, mueren protegiéndole. Cuando decide hacerse el seppukku (o harakiri), ni siquiera encuentra un arma para poder hacerlo, por lo que sale del castillo en llamas, arrastrando la funda de una katana, completamente loco.
    Por ese motivo, y porque una "flecha perdida" ha matado a Taro, Jiro decide dejar vivir a su padre.

    Sin embargo, mientras Hidetora vaga con el bufón por las praderas (que intenta cuidarle sin demasiado éxito mientras se ríe de él), a la espera de que Saburo le recoja con sus hombres, la mujer de Taro, antigua inquilina de ese castillo, decide manipular también a Jiro para casarse con él, para que maten a su mujer Sue y para que liquiden a Hidetora; todo ello a pesar de los consejos que el brazo derecho de Jiro, un general con un par, le da.

    Como era de esperar, la avaricia de todos y el mal hacer de Hidetora llevan a la tragedia a todos los miembros de la familia, Jiro se ve asediado por otros señores de los alrededores que ven, en ese conflicto interno, la posibilidad de coquistar el señorio de los Ichimonji, mientras que Saburo, que solo quiere recoger a su anciano padre (a quien hemos visto envejecer muchísimo más durante la película en su descenso a la locura), es traicionado por Jiro, siendo asesinado cuando ya volvía para su nuevo hogar acompañado de un padre que, desesperado por los acontecimientos, muere de un infarto.

    Considerada la obra cumbre de Akira Kurosawa, fue la película más cara y ambiciosa del cine nipón de la época, con un presupuesto de unos 12 millones de dólares, más de mil extras e incluso la reproducción a escala y con materiales adecuados de un castillo feudal de la época. El personaje de Hidetora está inspirado en un señor feudal japonés que también dividió sus tierras, pero con bastante mejor fortuna, además de reversionar el drama teatral de "El Rey Lear" de William Shakespeare, cambiando a las hijas por los hijos.
    Ganó un Oscar al vestuario y estuvo nominada a otros tres, incluyendo mejor dirección. Kurosawa hizo algo tan colosal porque, medio ciego y viejo, pensaba que sería su última película. Incluso su mujer murió durante el rodaje.
    El abuso del color rojo, sobretodo en uniformes militares y en la batalla contra los soldados de Hidetora, que la sangre brilla y es abundante, le dan un aspecto de caos y de desgracia, tal y como expresa el segundo de Saburo cuando su señor cae abatido: los hombres solo buscan el conflicto y traen la desgracia para ellos y quienes les rodean.
    'Ran' significa caos, conflicto o destrucción en japonés.

    La interpretación de Tatsuya Nakadai como Hidetora es lo más destacable, puesto que desde sus decisiones, el sentirse ofendido, o la forma de expresar su locura, le dan mucho realismo e importancia a drama que, en su vejez, está sufriendo este conquistador y derramador de sangre al que su pasado, ahora, le persigue sin dejarle vivir en paz.
    Destaco también al general de Jiro (cuyo nombre no recuerdo), su mano derecha, inteligente, vivo y cuya katana da un buen "golpe de efecto" al final de la cinta.

    Para terminar, a pesar de lo larga que es la cinta (dos horas y media) y de lo lenta que se hace muchas veces, sobretodo cuando Hidetora vaga loco por el mundo, refleja a la perfección los sentimientos más oscuros del ser humano, como la codicia, la ambición, el odio y la venganza, frente al perdón, el amor fraternal o la compasión que encuentra Hidetora a lo largo de su viaje entre la lucidez y la locura.
    Es una de esas películas dramáticas que tienes que ver con mil ojos, porque sientes que su magnitud supera lo que puedes llegar a comprender y se te puede escapar algo nimio o importante, que haga que no la valores completamente.
    Desde luego, es una obra maestra del cine, adaptación libre de Shakespeare, supuesta autobiografía de Kurosawa y muestra de como los deseos más fuertes de venganza y ambición pueden destruir cualquier lazo.
  • qfwfq78
    June 13, 2009
    qfwfq78
    Yet another great film by Kurosawa with fantastic visuals and strong story
  • TonyTheBull
    June 13, 2009
    TonyTheBull
    I don't think there has ever been a movie that fit so many of life's lessons into a mere 160 minutes. It is one of those very rare films that you don't watch but it actually feels like you are on a trip to somewhere special. My only complaint about the film is that it had to end ...( read more)eventually. This is a review that I refuse to talk about plot development because I want you to go in cold. This is Kurosawa's greatest achievement and he made it when he was 75 years old. To me Ran is the ultimate "meditation" movie. It forces you to ponder your own life. You will definitely sympathize with at least one of these characters. Any way let's talk about the performances. They range somewhere between Oscar worthy to something from heaven itself. The direction is something to behold and the magnificent battle scenes only provide a brief break from what the film is really about which is human emotional tragedy. It is the quiet scenes where no one says a single word for a few minutes that resonate the most. You can really tell that Kurosawa cared about every single detail of this film. There truly isn't one mistake in the entire film and I don't think I have ever said that about any movie before. This really is like a sequence of events on earth as viewed by God in heaven. By the end of the movie I don't know how I feel. This movie definitely pulls out every emotion known to man. I implore you to see this movie before you die because when you get to heaven God might have a quiz on this film.
  • hawkledge
    June 11, 2009
    hawkledge
    Overwhelming and magnificent visual style, resonant and poetic, dynamic, painterly composition and striking, expressionistic color. Mieko Harada is flawlessly ruthless as the vengeful Lady Kaede. The last and greatest masterwork by Akira Kurosawa.
  • amartel
    May 20, 2009
    amartel
    King Lear in Japanese but more entertaining.
  • thebeasttaz
    May 15, 2009
    thebeasttaz
    Beautifully shot great action sequences as well.
  • cancercapricorn2002
    April 22, 2009
    cancercapricorn2002
    There is no doubt whatsoever that Akira Kurosawa was one of the greatest film directors who ever lived. Directing a myriad of great movies over a career spanning 50 years, Kurosawa was known by many as Japan's greatest director, and the term 'legendary' was used frequently to des...( read more)cribe his vision and cinematic genius. Although some of his movies weren't quite as good as his best work, Kurosawa's greatest films continue to amaze, astound, engross and enthral us today.

    Ran is just one of the movies from his celebrated and acclaimed filmography, and as well as being a contender for his magnum opus it's undeniably and unquestionably one of the greatest movies ever made. Kurosawa effortlessly and successfully adapts Shakespeare's King Lear, and combined with the director's vision we get is a brilliant, flat-out masterpiece, and a film that adds even more repute to Kurosawa's already respected name.

    Retaining much of King Lear's story and themes, Ran is a faithful and successful adaptation of said play, considered to be one of Shakespeare's greatest works. Like most (if not all) of Kurosawa's films, the film is set in Japan ? medieval Japan, to be precise ? and the whole concept of Feudalism and warlords etc is substituted in brilliantly. Despite being set on an English play written 500 years prior, Kurosawa's own personal touch and style are added to it exceptionally.

    The whole story starts when Great Lord Hidetora, the head of the Ichimonji family, decides to step down as ruler of his kingdom. He divides his empire up into three, each one diminishing in significance and power in accordance with the age of his three sons (in lieu of three daughters as in Shakespeare's play): Taro, Jiro and Saburo. Sanjuro, being the youngest of the three, warns his father that the other two will develop a lust for power, and will destroy the Ichimonji family in their quest for the title. Enraged and furious at this claim, Hidetora banishes Sanjuro and disowns him as a son.

    Taro, being the oldest son, becomes the head of the Ichimonji family and claims all power and responsibilities, whilst his father still retains the title and privileges of Great Lord. But just as Sanjuro predicted, Taro's fealty to his father is nothing but a façade, and he plots to get rid of Hidetora by any means necessary, and hence become the real head of the family. Meanwhile, Jiro becomes the lord of the second Ichimonji castle, and will do anything to get his older brother out of the way ? even if it means civil war. Kurosawa's brilliant epic tracks the majestic rise and fall of the once mighty Ichimonji clan, and perfectly illustrates power, greed and revenge as the darkest and most contemptible aspects of human nature.

    Ran is a movie as close to utter perfection as you can get, and whilst it does have flaws (like every other movie), these are so, so minor compared to the greatness of the movie ? you're inclined to just ignore them. The fact is, the positives outweigh the negatives one million to none, and the audience can only be awestruck and astounded at the sheer masterpiece that is Ran.

    There are way too many good things about Ran, I simply can't write them all down in a review, let alone in an orderly fashion. Among other things, there's the wonderful screenplay (which, like I said previously, is excellently adapted), the visual-sumptuousness of the film and, of course, Kurosawa's grand and fine direction. Ran's excellence can only be fully realised when one watches the film right the way through; only then can you truly understand why it's considered to be such a great film. It's what an epic should be: sweeping and glorious but at the same time grim and bleak in its view of the world. Even though it's strictly for fans of drama, Ran is a must-see for any film aficionado. Trust me, you definitely will not regret seeing it.
  • shinai
    April 19, 2009
    shinai
    I love how colors. Nice, but violent.
  • latinpashin
    April 11, 2009
    latinpashin
    This movie is one of Kirosawa's best films. While it is a version of a Shakespear movie, it has Japanese twist, which tells a classic tale of the foolishness of a king and the downfall of his sons. This movie is a masterpiece.
  • hypathio7
    April 10, 2009
    hypathio7
    want to see this because it won best foreign film with the NBR, best foreign-language film with the NYFC, best picture with the NSFC, best foreign-language film with the LAFC, and best Foreign film from BAFTA, and was nominated for best foreign film at the golden globes
  • sportboy
    March 29, 2009
    sportboy
    want to see sometime in my life.
  • koolestshuffle
    March 24, 2009
    koolestshuffle
    ha! so watching this. studying king lear at the moment
  • ahhh1989
    March 21, 2009
    ahhh1989
    A true tragedy, to be sure, but one that always manages to get me in a tremendously deep way.
  • Lemure
    March 18, 2009
    Lemure
    Maybe this is why I've never got on with Shakespeare. A dying warlord hands his title to one of his three sons prompting a power struggle. Yet there's nobody to root for or get behind. There's the subplot of the blind man and the wronged girl - both of which serve only to allow m...( read more)ore melodrama, and I haven't even got to the frankly irritating scenes of the aging warlord overacting his arse off. It's very theatrical but far from entertaining. Nice battle scenes though.
  • bastianfernandez2
    March 17, 2009
    bastianfernandez2
    character very good.
  • babyinametalsuit
    March 6, 2009
    babyinametalsuit
    I really want to see this and it's supposed to be great so hey!
  • citawijaya
    February 24, 2009
    citawijaya
    This is my first kurosawa's movie, I kinda like it and that' really amazing cause I have Japanese's movie, but this one is really good. I love the cinematography.
    Can anyone believe that Kurosawa was already 70 when he made this flick? Jesus. The story itself is adapted from Shak...( read more)espeare's King Lear... moral message: Karma do happen. In the end nobody wins.
  • elburrito
    February 20, 2009
    elburrito
    One of the greatest movies ever made. Possibly Tatsuya Nakadai's greatest role.
  • jimbotender
    January 31, 2009
    jimbotender
    King Lear intertwined with pragmatic metaphors.The Jester protects the King and Three Brothers lead the penultimate rampage.Kurosawa is leaving behind him the Thrones and Samurais and unleashes his final epic film,valleys and meadows surrounding his vision.
  • oceanstorm
    January 25, 2009
    oceanstorm
    Shakespeare + Kurosawa = Good
  • mpm13
    January 17, 2009
    mpm13
    A tragic Shakespearean piece that follows a Japanese rulers misfortunes after he hands power to his oldest son and deals with the jealousy, lack of trust and respect between his three sons and is haunted by his own past.
  • AgentLexi2132
    December 10, 2008
    AgentLexi2132
    ''Men prefer sorrow over joy... suffering over peace!''

    An elderly lord abdicates to his three sons, and the two corrupt ones turn against him.

    Tatsuya Nakadai: Lord Hidetora Ichimonji

    Akira Kurosawa's Ran is an epic vision of a feudal Japan.

    ...( read more) The fascinating idea of Ran is that the principle is a reinvented twist on Shakespeare's King Lear.

    The story is vibrant and passionate, revolving around an aging Great Lord named Hidetora, played wonderfully by Tatsuya Nakadai, and his three sons Taro, Jiro and Saburo.
    What transpires is Hideotora giving up his resolute power over the lands to share between his three sons.
    Saburo disagrees with this immediately spurring his father into a rage and ultimately banishes Saburo and also Tango, an aide, who agrees with Saburo.

    ''The failed mind sees the heart's failings...''

    The clever things Ran throws at us are as follows, and it's obviously not just one aspect of the whole work.
    To begin with the cinematography for 1985 is unrivaled, having that timeless and radiant glow of legendary proportions about it. Costumes and battle gear really are flawless and the calvary and infantry simply are jaw-droppingly awe inspiring. Combine the visuals with a very Japanese primal score of music, strong emotionally charged performances and you have a winner. The cast doesn't just say their lines, they bark them with a daunting, charged tone that screams believability and finesse.

    I was personally interested with the character of Lady Kaede played to perfection by Mieko Harada. All through history women can be so much more manipulative than any man can dream of being. Some of the worlds most notorious and even great figures in History have sometimes been driven to make choices not of their own making. Little suggestions or murmurs from their wife or partner putting ideas within their heads that otherwise wouldn't have been thought of immediately. You can trace this recurring theme right back through History and straight back to present day.
    Ran's Lady Kaede is truly an inspiration, because us the audience ask ourselves how she got to this stage. Then the film delivers answers and suddenly we see the light. She wants vengeance, she wants power and she wants her castle back by any means necessary, even if it means starting a war or killing. Mesmerizing throughout.

    Hidetora: I am lost...
    Kyoami: Such is the human condition.

    Jinpachi Nezu who plays Jiro Masatora Ichimonji, the most power hungry son of the three plays an immense role in showing us how easy it is to be controlled by the thirst for power and the whims of Kaede, who has him wrapped round her little finger. Interestingly enough he despises his brothers and father, looking only for advancement and rulership over the provinces.

    Akira Terao as Taro Takatora Ichimonji is the oldest son, and he also instantly becomes corrupted by the power his father gives him. Just because he is the eldest son doesn't mean he's the wisest choice for succession, and this becomes apparent very soon after.
    His wife at first is Lady Kaede until he meets an untimely demise. She also manipulates him to great effect causing him to want more than he has just been given, thus taking advantage and stripping his father of more of his power.

    Daisuke Ryu as Saburo Naotora Ichimonji, the youngest and the most noblest of the sons, is greatly depicted in Ran. He's shown as a caring son straight away, shielding his sleeping father from the relentless sun, near the start of the film. Yet he then questions his father's decisions, and rightly so. His bravery and valour are mistaken though as an insult to Hidetora thus why he gets banished, and why his other sons close in to reap a hefty power struggle of sorts.
    The ending is one of pure emotion, the journey of a father and son with so much suffering, bloodshed and pain is a milestone in Foreign Cinema.

    ''Man is born crying. When he has cried enough, he dies.''

    Hidetora Ichimonji played by Tatsuya Nakadai is instantly recognizable as being an Award winning performance in my eyes. The transition that goes on during the film's running time is mind blowing incredible. We see a man lose everything, we see his own past and his rise to power and the many people he has effected by his action, by his untamed goal for ultimate domination and power. Women who have lost their Castles and been claimed as wives, a boy who has his eyes and home destroyed along with the suffering of his sister.
    Their only peace to pray to Buddha but as Ran tells us, he left this place a long time ago, to man who ravage the lands with war and blood.

    When Ran concludes, you see the Blind boy, who resembles a girl, drop a poster of Buddha.
    We come to the realization that not always can a journey be a smooth one but a journey laced with tragedy, loss, war and ultimately death, plus peace and an end to suffering.

    ''Are there no gods... no Buddha? If you exist, hear me. You are mischievous and cruel! Are you so bored up there you must crush us like ants? Is it such fun to see men weep?''
  • marwatiwae
    December 8, 2008
    marwatiwae
    wow!! four thumbs up!!!
  • RCCLBC
    December 1, 2008
    RCCLBC
    Visually stunning, but about one hour too long.
  • villainforhire
    November 19, 2008
    villainforhire
    one hell of a bleak picture. so intense and beautiful (in a very ugly way)

    one of kurosawa's best.
  • jes25924
    November 14, 2008
    jes25924
    Seeing red!

    Makes you wish Kurosawa had made more films in color.

    Before making this movie, he stayed in a hotel for months, drawing huge paitings of the battles that would become this film. I think it shows. Amazing. Nobody does Samurai Shakespear like Kurosawa, of cours...( read more)e no one else does Samurai Shakespear.
  • Ulysses25
    October 26, 2008
    Ulysses25
    Certainly one of the greatest epic films ever made, Ran begins to startle something within you from the first frame; large, expansive shots with near still figures in the foreground, moving just slightly like leaves on a tree limb, almost like a moving painting.

    The King Lear o...( read more)f course. However, Ran is more than that. Kurosawa elicits a feeling of such depth in these characters, such foolishness, cruelty, hatred, peacefulness, and inner-being, that we can't help but become transfixed by them, and watch in horror as they collide, like the fascination a car crash might bring.

    Technically it's perfect. At times it's like watching an Antonioni film. Beautiful shots of the mundane, like clouds forming, or vast hillsides, lush and green. The colors are rich, bright, and add a wonderful offset to the dark thread of the story.

    Without any doubt, always one of my favorite Kurosawa films, or any films for that matter.
  • Ivan6655321
    October 11, 2008
    Ivan6655321
    This is one of Kurosawa's finest, and one of the greatest ever. The story was based on the Shakesperean tragedy, "King Lear" and was modified to fit the setting of feudal Japan. It also contains the most beautiful opening scene I've seen, a stunning piece of location that Kurosaw...( read more)a perfectly implied into the background of the opening credits. This film is simply great, Kurosawa's last epic, and one of his most remarkable achievements.
  • geoffcbassett
    October 11, 2008
    geoffcbassett
    An epic, enthralling tale of betrayal and war.
  • PvtCaboose91
    September 30, 2008
    PvtCaboose91
    "Man is born crying. When he has cried enough, he dies."


    To movie aficionados and cinema enthusiasts, Akira Kurosawa's name is synonymous with the title of 'cinematic god'. It's irrefutable that throughout Kurosawa's career (spanning over several decades) the directo

    ...( read more)r has created wonderful narratives and absolutely magnificent visual delights. To some people Kurosawa is the greatest thing to hit film since light. In this cynical and incredulous modern film-going society, neophyte students of film occasionally harbour doubts regarding the existence of this so-called cinematic god. Ran is an epic film capable of making believers out of anyone. The film is a remarkable visual spectacle composed of beautiful cinematography and gorgeous, oversaturated colours. Kurosawa is a filmic guru who situates his sombre narrative in a world full of opulent nature panoramas, all shimmering fields of vernal green grass and cerulean skies of deepest summer. Even after watching Ran, one can close their eyes and still see the kaleidoscope of colours...swirling and pulsing in a beautiful maelstrom. This is a testament to the masterful moviemaking of Akira Kurosawa.

    The narrative conveyed in Ran is fundamentally an adaptation of William Shakespeare's King Lear. This brilliantly conceived re-telling of the classic tale magically mixes Japanese history with Shakespeare's timeless plot. The film is saturated with profound themes of faith, love, trust, deception, loyalty and humanity in an epic tour de force. Interestingly, the film is generally tagged as an adaptation of King Lear, but it didn't start out that way. There is a famous story of a 16th century warlord whose sons were revered for their loyalty. Kurosawa wanted to turn the story on its head, showing that ambitious sons cannot be trusted. He started writing the script in 1976, with the first draft completed in 1978. At some point in early development either Kurosawa or his collaborators realised the unmistakable parallels to Lear. The final version therefore drew more inspiration from Shakespeare's play, although Ran differs significantly from King Lear in terms of characters and some plot points.

    Akira Kurosawa's Ran is set in the Sengoku period. Said period was an era of civil wars in Japan that preceded the Shogunate. The time was characterised by much turmoil and lack of stability, hence the title of the film which means "chaos". This grand tragedy centres on the aging warlord Hidetora Ichimonji (Nakadai). With his golden years behind him, Hidetora decides to abdicate and split his land evenly between his three sons. Each son is to be allocated a piece of land and a castle. Hidetora wishes to live his remaining years visiting each of his sons and staying in their castles. His two eldest sons are pleased with his decision and happily accept the portion of the empire allotted to them. However, Hidetora's third son Saburo (the film's Cordelia, so to speak) criticises his father's decision and calls him foolish (much to the delight of the two eldest sons). Saburo argues that three sons won't be willing to protect their father due to their individual ambitions. Despite Saburo's words being correct, Hidetora is furious and banishes Saburo from his empire. It soon becomes apparent that Hidetora is no longer welcome in the empire he fought so furiously to obtain. His two eldest sons begin to overthrow him and refuse to offer their father any protection. Hidetora slowly grows insane, eventually wandering the wilderness with only his loyalest companions by his side.

    Ran is regarded as Akira Kurosawa's most personal film, even occasionally regarded as his absolute best. The film languished in development hell for years. The first version of the script was penned by 1978, yet didn't go before the cameras until over half a decade later. Kurosawa's latest movies hadn't made much of a profit, making studios less inclined to fund this expensive production. While waiting for his epic to receive funding, Kurosawa painted detailed storyboards and designed ornate costumes. By the time French producer Serge Silberman raised the required money, Kurosawa had virtually already pre-shot and pre-edited the entire movie. His vision was clear, and he worked passionately to achieve it.

    By all accounts the production was fairly smooth, but Kurosawa suffered three consecutive tragedies in the first 6 weeks of 1985. His long-time swordplay choreographer Ryu Kuze and sound man Fumio Yanoguchi (who had worked with him since the 1940s) died within a few days of each other. Both had started on the production of Ran but were compelled to leave due to ill-health. Following this, Kurosawa's wife was diagnosed with a terminal illness, eventually dying in early February. Kurosawa responded by immersing himself further in the production of the film, and his passion is obvious.

    At 2 hours and 40 minutes, Ran is gruellingly long and occasionally difficult to sit through. Yet the film is a triumph in global cinema, with competent direction, a vibrant Japanese score, strong emotionally-charged performances and incredible battles. It's an action epic containing no more than 2 spectacular battles. The rest of the running time is dedicated to dialogue and establishing deep characterisations. The battles haven't dated one iota. Instead of employing CGI to create a swarm of soldiers, hundreds of actual extras have been employed. The colour scheme is particularly amazing. Even better are the jaw-dropping costumes which received an Oscar. These costumes were created by hand, taking a total of two years to complete them. The costumes look thoroughly authentic, and present an amazingly convincing vision of the 16th century.

    I won't lie...Ran may be found quite boring by some. For someone who adores the works of Michael Bay and who is searching for never-ending action will be vastly disappointed. But if you decide to watch Kurosawa's masterpiece seeking oodles of action, then you're watching it for all the wrong reasons.
    In spite of my incessant appraisal of the outstanding visuals being displayed, there are several shortcomings. For starters, the film is undeniably difficult to follow. Stilted dialogue and poor distinguishing of plot points proves lethal. The acting is top notch, but much of the character behaviour appears random and incoherent. This is a problem I've found with all of Kurosawa's movies: there's a wonderful narrative that's blemished by a clunky and jumbled screenplay. For most of the running time, the visuals appear to be the product of Kurosawa's self-indulgence as the film moves from one random (albeit beautiful) visual image to the next. At least it's gripping and thoroughly involving, with a sufficient amount of interesting characters to keep one entertained.

    Quite unsurprisingly, the film is extremely violent and filled with bloodshed. The evil bitch known as Kaede receives her comeuppance is a very violent fashion. It's interesting to note than while the film was stamped with a suitable R rating by the MPAA, in Australia the film has been slapped with a PG rating. Weird...

    Ran is an expressive and deep reflection of the condition of human affairs. It's a transfixing tale of the perpetual balance between action and repercussion which transpires in the midst of those who kill and those who are killed. It is a narrative concerning two brothers and their machiavellian approach to their acquisition of supremacy. It's also about a rogue brother guided by truth and rejected for speaking that of which would eventually and paradoxically occur. The film is also about one woman and her desire for vengeance against all those who devastated her childhood. The film additionally concerns a lone father too blind to realise the truth, and who pays for the sins of his past with the blood of his sons (both the loyal and the treacherous). Finally, the film is a story about all those ensnared in the twisted web of "Ran"...which aptly translates as "chaos".
    Despite the film being hard to follow at times, Ran is an absolute triumph in the career of Akira Kurosawa. It's an unforgettable and gripping tale of disloyalty and trust. The visuals are mind-blowing, the direction is beautiful, and the acting is simply superb. This is an astounding epic film, with exhilarating action and yet much subtlety that becomes apparent on repeated viewings.
  • threefolddado
    September 29, 2008
    threefolddado
    Who would have thought that carnage could be beautiful?
  • jplong39
    September 27, 2008
    jplong39
    A powerful personal statement by Kurosawa, and his last GREAT film. A God's -eye view of man's inhumanity toward his fellow man. Blood, which is bright red to show the passion and violence of murder and warfare, doesn't just flow: it pours. Inspired by true historical characters ...( read more)and modelled after Shakespeare's King Lear, Ran shows the violent down fall of the Ichimonji household...it's full of murder, treachery, battles and madness with an incredible denouement....he shows one of the characters after all is done and over with: and this character represents Man...blind, alone, without God and standing at the brink of his own destruction.
  • engrymfilm
    September 23, 2008
    engrymfilm
    I only like Shakespeare when Kurosawa does it
  • broncos88
    September 9, 2008
    broncos88
    Kurosawa is perfection
  • anutjami
    August 30, 2008
    anutjami
    What can anyone say about Kurosawa? Absolutely amazing! Yet another interpretation of Shakespeare that I hasten to say may be better than the original.

Summary

Ran Summary