Ran

Akira Kurosawa, Japan, 1985, 160 minutes

Akira Kurosawa’s illustrious résumé is fair reason to consider him the greatest filmmaker of all time, and though his career spanned five decades his most lauded work comes from the period separating Rashomon (1950) and Red Beard (1965). Effectively ostracised from the declining Japanese market, his following projects struggled to gain financing and such was his despair he attempted suicide. Fortuitously, a French producer saw potential in his dream project. Ran (meaning ‘chaos’) is a magisterial adaptation of King Lear, a saga of such startling pessimism that perhaps a lifetime of wisdom is required to truly realise its significance.

Set in the 16th century, the story revolves around the Ichimonji clan, headed by Great Lord Hidetora (Tatsuya Nakadai) – the King Lear character. Tormented by a reign built on brutal conquest, he wishes to abdicate hereby dividing the kingdom between his three sons Taro, Jiro and Saburo. However his naivety has tragic consequences, as the outspoken younger son is banished while the two disingenuous elder siblings systematically strip their father of all influence. This has a rather adverse affect on poor Hidetora, who descends into madness while his sons wage a devastating war.

The scale of this expansive epic is astonishing. Despite his failing eyesight, Kurosawa masterful film technique results in a glorious concoction of poetry, cinematography and sound. The efficient battle sequences come across as panoramic ballet, replete with hypnotic beauty. The colour schemes are vivid, with golds, reds and blues pervading the screen at every opportunity. Drawing heavy influence from Noh theatre, the performances are inundated with pathos, reaching its apex with the manipulative Lady Kaede (Mikeo Harada). Toru Takemitsu’s minimalist score is more effective than any bombastic Hollywood effort could ever achieve. With an emphatic focus on catharsis, Ran bonds classic tragedy with Japanese history to create a masterpiece, one that certainly attains the distinguished title of ‘real cinema’ that Kurosawa strove for in all his work.

Review by Chay Williamson
Written for EUFS Programme Autumn 2007