All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
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.
Yet, there is hardly anything chaotic about Ran. A certain degree of harmony is always present, regardless of what is depicted on screen, be it war, manipulation, betrayal, or masssacre. A field trampled over by horses yet undisturbed, soldiers marched and chanted in an orderly fashion, a battlefield filmed in silence. Even the fire and smoke seemed geometrically symmetrical.
Everything just looks so... calculated. Organized. Every prop, down to each speck of dust, is exactly where Kurosawa wanted them to be. The position of the actors, where they'd look, where they'd put their hands, even the mountains at the background, the flowers, the clouds, are all adjusted to fit each frame perfectly. Kurosawa had full control over his film, like a painter would have over his painting.
Now, that is something.
The prevailing emotion in this film is anger. Rage, hatred, loathing. It is such a bitter, angry film that even the clouds in it seem to seethe with it. What we see is the tale of a proud, powerful man whose rule is so absolute he cannot fathom the fall he is about to experience, and what we see is the fall of a man whose past has done nothing but maim, murder, and malign those around him. He has forged his fate a thousand times over in warfare and conquest. When he demands his sons split evenly the kingdom he has created, he naively believes his authority will persist beyond his willingly ceding that authority.
This is not King…
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,…
As much as Ran is soaked in beauty it is also enveloped in grief, regret, and hubris. Through some of the most awe-inspiring cinematography ever conceived, we witness a cycle of violence, an old man's descent into madness and guilt, the destruction of a family, and a fool's quest for meaning in an empty world. Ran's message is clear: pain only causes pain, and pain is all we have. The Lear stuff doesn't work as well as the more original parts of the movie but overall Ran is just about perfect. The staggering visuals, excellent acting, and existential writing make it one of Kurosawa's best.
The crowning achievement of late period Kurosawa and arguably his final masterpiece is still only his second best Shakespeare adaptation. Mieko Harada as the venomous Lady Kaede owns this film.
Visually, it's fucking perfect. Seeing most of Kurosawa's popular films beforehand, the direction was incredible. This was my first color Kurosawa too so this was a real beautiful watch seeing a Kurosawa film in color for the first time. I knew it already looked like a Kurosawa film just because of it's great staging of the characters. But unfortunately, the story was just okay to me. The script was brilliant, and the performances were fantastic, but I found the story to not be as good as the other Kurosawa films I've seen. I might be biased because I enjoy his non samurai work more, but I also loved Seven Samurai and Yojimbo. I think the theme of power and betrayal…
Has great characters and some of the best cinematography out there, but can be tediously slow at times. The overall message of this film is very compelling, though; it's devastating to see how the world in this movie goes so downhill from the beginning over one poor decision, and often that's all it takes when there's so much power up in the air.
Ran felt like kind of like The Godfather (for the character arcs) and The Return of the King (for the action sequences) if they were one movie and took place in medieval Japan to me; as an observation.
NYFF Review #1
A colorful, Shakespearean epic handled by the deft hands of a master.
Ran is not my personal favorite Kurosawa film, but it is possibly the most epic, ambitious, and beautiful features he ever filmed. Honestly, this movie is worth watching for the destruction of the Third Castle alone.
Retrospective screening at the NYFF.
I'd be hard-pressed to find a better film that demonstrates that a life based in tyranny, violence and oppression will haunt you and your entire family. A true anti-war film, as no one is seen as a benevolent alternative to the chaos referred to in the title.
Week 3 of the Letterboxd Season Challenge 2015-16
Pause Akira Kurosawa's Ran at any given point, and chances are pretty good that you'll have yourself a still you could frame and hang on your wall. It's easily one of the most visually stunning films I've ever seen. The fields, the hills, the castles, the enormously large-scale production with huge, visceral battle scenes, it's not unlike Seven Samurai in that sense, except in absolutely beautiful color, most notably red and green.
Kurosawa truly was a master of cinema, and it shows in his jidaigeki adaption of Shakespeare's King Lear. Originally based on Kurosawa regular Toshiro Mifune, the main character of elderly warlord Hidetori Ichimonji is played by the equally amazing Tatsuya…
"Parents and children have no place in this world?"
RAN, don't walk.
Amazing (this movie, not that pun), even if by the end of its 162-minute running time I felt a bit mad myself. It's more than worth it for Kurosawa. The intimacy of tragedy is horror, and 1985's "Ran" (Chinese and Japanese for "chaos") has a constant visual expression of repulsion as well as awe. Akira Kurosawa's final epic -- a relatively piddly $12 million gangbuster that shames every superhero tentpole of today -- transposes Shakespeare's "King Lear" to warlord-dominated Japan, and its byzantine synopsis is too much to get into at 5 A.M. on a Tuesday (#sleep.) Still, most everyone knows the story, not the least Kurosawa…
Every film that has ever been nominated for an Academy Award in any category. Enjoy!