Ran

Ran

Blending 16th Century Japanese history, traditional Noh theater conventions, and a Shakespearean narrative, Kurosawa’s Ran tells the story of an aging feudal lord and his sons. Patterned after King Lear, Lord Hidetora wishes to retire after 50 years of conquest and bloodshed. Betrayed by two power-grasping sons, he instead must flee into the wilderness accompanied only by his bitterly perceptive fool and a loyal soldier.
Ran achieves a masterful level of both abstractness and wrenching emotion. A scarcity of close-ups and a repeated motif of cloud images give the film a detached quality. Yet other sequences exemplify Kurosawa’s belief that sound and image should combine to multiply a scene’s emotional impact. Rightfully famous are the scenes showing the assault on Hidetora’s Third Castle: overlaying five minutes of horrifying images of slaughter there are no battle sounds, only the music of Toru Takemitsu’s score, intended by the director to resemble “the wailing of countless Buddhas.”

In creating Ran, director Akira Kurosawa wished to consider how God and Buddha, if they exist, view the same violent cycle of human behavior absurdly repeating itself. Dialogue throughout the film wavers between an angry atheism and a theology in which God woefully watches from a distance but is powerless to alter history.

The final take on this dialectic is expressed wordlessly in the concluding scenes. After almost three hours of unrelenting despair, Ran ends with a man, blinded as a boy by Hidetora, standing alone on the ruins of a castle wall. Having dropped a Buddha scroll into a crevice, whose image stares up sadly yet impotently, the camera pulls back to a very long view of this isolated, vulnerable figure. Aptly, the last sentence in Kurosawa’s screenplay is the single word, “Wretchedness!”

—Andrew Spitznas

  1. Directed by: Akira Kurosawa
  2. Produced by:
  3. Written by: Hideo Oguni Masato Ide Akira Kurosawa William Shakespeare
  4. Music by: Tôru Takemitsu
  5. Cinematography by: Asakazu Nakai Takao Saitô Shôji Ueda
  6. Editing by: Akira Kurosawa
  7. Release Date: 1985
  8. Running Time: 162
  9. Language: Japanese

Arts & Faith Lists:

2011 Top 100 — #61

Similar Posts

  • Koyaanisqatsi

    If, as they say, writing about music is like dancing about architecture, then how does one describe a film like Koyaanisqatsi (1983), which has no actors, no dialogue, and no plot, but consists instead of nothing but music and images (some of which, incidentally, do happen to revolve around architecture)? Well, we can begin by looking at…

  • The Searchers

    John Ford’s 1956 Western, The Searchers, ends with the camera framing a doorway, looking out into the gloriously filmed desert. As his remaining friends and family cross over the threshold into the welcoming house, John Wayne’s Ethan Edwards stays outside, watching them. Then he pauses a moment, turns, and walks off into the red dust. There’s…

  • Chariots of Fire

    Chariots of Fire, based on the story of British Olympians Harold Abrahams and Eric Liddell, won the Academy Award for Best Picture in 1981. The film stretches the boundaries of both the biopic and sports genres as it presents a series of vignettes from the lives of these two athletes in the years and months…

  • Places in the Heart

    Places in the Heart (1984), written and directed by Robert Benton, won two Academy Awards—Best Original Screenplay and Best Actress for Sally Field. The film also received nominations for Best Film, Best Director, Best Supporting Actress (Lindsay Crouse), Best Supporting Actor (John Malkovich), and Best Costume Design. Considering the flashy blockbusters that often win big prizes…

  • Still Life

    Still Life is director Jia Zhangke’s meditation on the effects—personal, societal, and environmental—that occur during the building of the magnificent Three Gorges Dam across the Yangtze River in central China. As the dam moves closer to completion, authorities hold back more and more water, meaning that low-lying communities close to the dam will soon be underwater….