Ran

Akira Kurosawa’s final epic, Ran (乱, which can mean riot, war, disorder, or disturbance), released in 1985, is based both on legends of Mori Motonari and on King Lear by William Shakespeare (itself derived from the legendary British king Leir).

Ran tells the story of Hidetora Ichimonji, a Motonari-Lear figure played brilliantly by Tatsuya Nakadai, during the Sengoku period (1573–1603).

The aging warlord has a dream that leads him to divide his realm among his three sons, much like Lear dividing his kingdom among his daughters. Like Lear, Ichimonji descends into madness, driven in part by the disrespect he believes his sons show him. War erupts, heads roll, including those of a fox statue and two women, and the fool may be the only one who sees things clearly. All the while, the world feels unsteady and beyond repair.

Watching Ran makes you realize how CGI has changed a certain aspect of filmmaking. The special effects, costumes, makeup, and the sheer effort of the crew create battle scenes that feel strikingly real in their rawness and imperfections, helping make this film a visual masterpiece. The use of color is just as powerful, whether rich or muted, dim or bright, blazing or smoky, each scene shaped by a mood that reflects the narrative and its characters.

Two parts in particular stood out to me: the siege and massacre at the burning Third Castle, and the one where Lady Kaede coerces Jiro and begins to assert control behind the throne.

Stop it! Do not curse the gods! It is they who weep. In every age they’ve watched us tread the path of evil, unable to live without killing each other. They can’t save us from ourselves. Stop your crying! Such is the way of the world. Men live not for joy but for sorrow, not for peace but for suffering. Look at those in the First Castle. Even now they vie for the greater share of sorrow and suffering and revel in their mutual slaughter!

— Ran, Akira Kurosawa