Every film from Roger Ebert's "Great Movies" essays.
A story of greed, a lust for power, and ultimate revenge when an elderly lord abdicates to his three sons, and the two corrupt ones turn against him. A profound examination of the folly of war and the crumbling of one family under the weight of betrayal, greed, and the insatiable thirst for power.
With its powerful undercurrent of themes such as greed, power, religion, deception and revenge always at hand, breathtaking vistas captured which give the illusion of depth in the screen and the embodiment of a strange, barbaric beauty, Akira Kurosawa's Ran is a cinematic achievement unparalleled and incomparable. Ran is not a perfect film, but it is one that perfects particular components so powerfully and superlatively that all flaws are decimated, much like the measureless armies that Kurosawa presents and controls in his awesome battle sequences. With it's sweeping camera movements and sense of scope mastered, Ran is an experience that is provocative, haunting, educational and above all, enthralling.
As we enter an unfamiliar land but observe a familiar story unfold,…
I find it the hardest to rate the 5 star films, especially when they are epics.
It is much easier to rate films like Raging Bull simply because while there are a lot to praise, mostly the praise falls on the director, camera and acting.
In films like Once Upon a Time in America and now Ran, the film has so much, especially when they are 2 1/2 hours or longer.
Its a little funy that while so many of his films have been Americanized [(Maginifcent Seven (Seven Samurai), Star Wars (Hidden Fortress), Yojimbo (A Fistfull of Dollars)], Kurosawa went and adapted William Shakespeare's King Lear.
There is only one word to describe this movie and that is Masterpiece
Akira Kurosawa is a great story teller and legendary director. After watching his Rashoman and Seven Samurai, which are my personal favorites it took me a while to get to Ran.
Ran is a story of greed, lust, betrayal and the egotistic human nature.
As we move forward in the story it gets dark, darker and finally darkest.
Kurosawa showed that sometimes the people who kiss your ass are the people first to stab in you in the back. And also he showed us that telling truth to people is often ignored and trashed.
One thing I observed on this masterpiece is that Kurosawa has centered his…
In a mad world only the mad are sane.
King Lear in Feudal Japan by way of Akira Kurosawa. While some of Hollywood's biggest directors were looking at Kurosawa for inspiration he was looking at Shakespeare for his. (note: the story is also combined with a samurai legend).
Widely considered Kurosawa's last masterpiece, I can't argue, mainly because I haven't seen his last three films (yet) but I can't imagine them surpassing this one with all due respect to the master. How appropriate is it that his last great film is based on samurai legend with a character based on King Lear at this stage in his life?
Watching the film knowing it's background also gives it a special…
After watching this film I have concluded that Akira Kurosawa is a genius. I mean, I already did after watching the masterpiece that was Seven Samurai, but this sprawling epic somehow manages to become superior to something that has no inferior, a masterpiece outdone by an another.
Ran is an incredibly powerful film, unmatched in it's ability to move the audience. We sympathise with a character we know we shouldn't and begin to learn from him. Forgiveness over battle and urge. If we swallowed our pride and just let our instincts go, there will be peace. These people were too proud, did not trust their fellow man. Thus it created war. Trust bought about the potential of a greater peace,…
While not quite the masterpiece that I found Seven Samurai to be...Ran is undoubtedly an expertly crafted epic that shows the breakdown of a family amidst the pointlessness of war.
I think the father's descent into madness throughout this film will haunt my dreams forever. It's the one aspect of this film that kept me glued to the screen. In all honestly, the actual war scenes at times were a bit confusing and hard to follow, sometimes featuring people or clans whose identities and motivations were unclear to me. Not saying it all doesn't make sense...but as a first time watch there were times in which I struggled to piece together who was fighting who and for what reason. For…
It's my 16th birthday, and one of my gifts (out of the many blu rays) was Ran - one of my favourite films. Naturally, I watched it seeing as I love it so much and its effect hasn't faded.
I love love love Ran, its visual beauty and huge scale is just magnificent, it also helps that King Lear is my favourite Shakespeare piece.
Kurosawa was a mad king in his own right, and Ran seems to be an appropriate film for him to make when he did. Aside from my clumsy attempt to find a connection between the director and his film, I'll move on and comment on how remarkable it is that an 80 year old man can create a work of such force, vision, and beauty, and do so as if he was a man 3/4 his age.
Because Ran, in all aspects, is a work of supreme skill and confidence, and looks like it was really, really difficult to make. The scale of the battle sequences, the sets (and how they fill the screen from a distance), the dazzling color…
Breathtaking in its scope and majestic in its execution, the last epic from the influential Japanese auteur is also his best.
This review reportedly contains spoilers. I can handle the truth.
Ran is an outstanding achievement and an overwhelming spectacle that is the result of great filmmaking and storytelling. Inspired by the William Shakespeare play King Lear, this film has great dialogues, amazingly constructed characters, a wonderful cinematography, and everything was led by the hands of Akira Kurosawa. This was the second movie I ever saw of his, with the first being Seven Samurai, and hardly could I have picked two more spectacularly epic films to start exploring the work of such an important filmmaker. This film undoubtedly ranks among the most impressive epics ever made.
Ran is considered Kurosawa's last masterpiece and though I don't think is is one I do think it is a master class in filmmaking. Even with his eyesight failing him Kurosawa creates a visual feast with perfectly framed compositions and filling it with the stunning colour of the production design. There are many fine performances in the film and the story is quite compelling too. Unfortunately I just didn't connect with it on a gut level and thought it could have been a bit shorter too or at least faster paced. Still a great film but I didn't love it.
Tatsuya Nakadai gives one of the all time great performances as Lord Hidetora Ichimonji in Ran, it may be essentially theatrical but he, in conjunction with Akira Kurosawa, craft an amazingly powerful character, all hysterical vanity, to be pitied and not to be liked. Obviously, Ran is a take-off of King Lear, but like the best Kurosawa's Shakespeare adaptations it brings thoughtful additions to the story as well as transporting it to the elemental Japan.
Kurosawa rarely filmed anything with such foreboding beauty as he does with the windswept hills and ruined fotresses of Ran, mixing this incredible geographic swept with anxious indoor scenes, where great costuming and set design add a layer of cinematic magic. A special mention has to be made for Mieko Harada, whose complex Lady Kaede dominates many of the best scenes of this wonderful film.
An epic, breath-taking masterpiece.
"Man is born crying. When he has cried enough, he dies."
When this line is uttered in a film by its "comic relief" character, you know it's a bit grim - and indeed this is Kurosawa at his most uncompromisingly pessimistic. As in Throne Of Blood, Kurosawa transposes Shakespearian tragedy to feudal Japan (in this case taking the plot and central themes from King Lear). Though there are doubtless scholars of the bard who would quibble at its complete success as an adaptation, this is as lyrically misanthropic an observation of the human condition as any tragedian could hope to achieve. Hidetora, the film's Lear figure Tatsuya Nakadai transforms gradually from savage warlord (almost an older, grizzled version of Mifune in the earlier film) to a forlorn, spectral figure, literally losing his mind in incomprehension at the brutal world which, it transpires, he has himself helped create.
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All the films from all the editions, including those subsequently removed, presently totalling 1154. An easy way of seeing how…
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