Director: Akira Kurosawa
Writer: Akira Kurosawa, Hideo Oguni, and Masato Ide
Cinematographer: Takao Saito, Masaharu Ueda, and Asakazu Nakai
by Jon Cvack
Having only seen this movie twice, I still feel ill-equipped to offer anything beyond superficial insights. The movie contains such a vast amount of depth and humanity, based upon director Akira Kurosawa’s lifetime of education and filmmaking that I’m certain to only graze the surface. Like most of history’s greatest films, this is another that failed to receive the accolades it deserved, having been completed past the Cannes deadline, instead premiering at the Tokyo International Film Festival, which Kurosawa failed to attend. As a result, Japan refused to enter the film as a nominee for Best Foreign Film Academy Awards, and while it was still recognized for directing, costume design (which it won), cinematography, and art direction, it would have likely brought home the statue for Japan.
Ignorant of Kurosawa’s history, I was stunned to learn that by the 1970s, he was considered old fashioned and struggling to get his films financed. Although between 1948 and 1965 he made over seventeen of his finest films. Yet between the periods of 1965 and 1993 he only made seven(!) pictures. Financing fell through for many, he was once attached to direct Tora! Tora! Tora! (‘70) and was quickly pulled from the project when his perfectionism bordered on “insanity”. Of course, one wonders how much better the film could’ve been if he remained at the helm. A year after he finally got his first film in six years completed, Dodesukaden ('70), which later flopped, Kurosawa attempted suicide by slitting his wrists, believing his career over and his best years long behind him.
Thus, Roger Ebert was famous for declaring that Ran was as much about Kurosawa’s life as it was an adaptation from "King Lear". In fact, while the two share many traits, the film’s are significantly different, with Ran focusing more on Hidetora’s comeuppance for a lifetime of warfare, murder, and greed, while Lear focused more on the king’s general foolishness. Nevertheless, the story of a maddened King and his jester, wandering around their former empire, is retained, with Tatsuya Nakadai as Lord Hidetora offering one of the great performances of the decade.
The story begins with Hidetora having a dream that tells him he must divide up his kingdom to his three sons Taro (Akira Terao) , Jiro (Jinpachi Nezu), and Saburo (Daisuke Ryu), with the eldest Taro receiving the prestigious first castle, and Taro and Saburo accepting the second and third. Hidetora believes that so long as they stick together they will remain strong. He hands around a single arrow which is easy to break, but when bundled together it’s impossible. Of course, Saburo puts the bundle against his shin, putting a bit more power behind the attempt, foreshadowing his alliance with warlord Fujimaki (Hitoshi Ueki), who’ll join forces to battle the other brothers. His spoiled son’s immediate dissent and dissatisfaction of Hidetora’s decision indicates where it’s going. In no way is there going to be a peaceful alliance between the three, not so long as the innate desire for power and prestige exists.
BELOW: A short clip of the castle attack, providing a decent glimpse into the film's beauty (now just imagine it on a big screen in 4k)
Thoughts on films, old and new
© Jonathan Cvack and Yellow Barrel, 2015 - 2017. Unauthorized use and/or duplication of this material without express and written permission from this site’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Jon Cvack and Yellow Barrel with appropriate and specific direction to the original content.