Ran review: How does the legendary Akira Kurosawa’s last epic hold up 30 years on?
Ran review
In 1979 Akira Kurosawa was finding it extremely hard to get funding in Japan. Believing Kurosawa to be no longer financially viable, especially considering his epics, it was up to some new American kids on the block to come forward and lend their idol a hand. Francis Ford Coppola and George Lucas helped convince 20th Century Fox to fund Kagemusha in its final push of production, and the film became such a hit in Japan that in 1985, it was easier to acquire the budget necessary for the most expensive Japanese film at the time, and Kurosawa’s final epic Ran.
30 years on from its UK release, we can now look back at Kurosawa’s entire catalogue and judge accordingly. As one of the greatest filmmakers to have ever lived (in my opinion THE best), Kagemusha and Ran served as a reminder of the director’s prominence, style, and huge vision back in his heyday. There’s so much energy and vibrancy to Ran that you’ll be forgiven for forgetting that Kurosawa was 75 at the time of the film’s production.
Ran review
Taking inspiration from William Shakespeare’s King Lear, Ran begins with Lord Hidetora (Tatsuya Nakadai), dividing his land between his three sons. After the youngest, Saburo (Daisuke Ryu), points out that his sons will likely be as ruthless as Lord Hidetora was, Hidetora banishes Saburo. Saburo’s fears soon become true as the eldest son Taro (Akira Terao) is manipulated by his Lady Macbeth-esque wife Lady Kaede (Mieke Harada), and the middle son Jiro (Jinpachi Nezu) is counselled regarding the growing threat of his older brother.
As the complexities intertwine in this sprawling tragedy, it is clear to see how much Kurosawa invests in his characters, expanding and improving on Shakespeare’s work. Hidetora is not just a tragic figure who approaches insanity, but is also developed as a cruel and untrustworthy man. His fragility in his elder years makes him sympathetic, but we are also told of his evil deeds. The two eldest sons’ wives are also a great representation of how the compelling story has been approached from all angles. Kaede is a hate filled monster out for vengeance, while Jiro’s wife Lady Sue (Yoshiko Miyazaki) is calm and forgiving.
With epic confidence Kurosawa allows every aspect of design and construction to speak for itself. Long takes and long shots keep us at a distance from the action, while letting us soak up the performances, incredible sets, and beautiful use of colour. It’s sad that realism prevents paint from being used as blood these days, so you owe it to yourself to see artistic sprays of red in this gorgeous new transfer.
Ran review
Nakadai is a breathtaking lead, mixing moments of quiet subtlety aided by extensive make-up, alongside more classical interpretations of Japanese Noh theater. Harada is also a stunning villain, and another example of a strong woman who often littered Kurosawa’s films. She is cruel, terrifying, but also understandable. Pita, taking on the role of Kyoami the jester, provides us with laughs, but also some profound commentary.
You’ll be in awe and invested for every second of its runtime. If you’re tired of formulaic and syntehtic CG creations, then go and see a film that was entirely storyboarded with watercolor paintings, had 1,400 costumes handmade over two years, and a director who halted filming for just one day upon the passing of his wife. Every ounce of passion bleeds into Ran making it a timeless classic that sits up alongside Seven Samurai and Throne of Blood.
Ran review by Luke Ryan Baldock, March 2016.
Ran is released in cinemas in a 4K transfer from 1st April, on EST from 25th April, and on DVD and Blu-ray from 2nd May.
