Review of Ran (1985) by Michael C — 20 Jul 2009

The feudal era of Japan does not seem like the most obvious setting for a Shakespeare play, but Kurosawa's take on King Lear does the Bard proud, and yet it maintains the lyrical beauty and themes of honor that are the hallmark of Kurosawa's films.

Tatsuya Nakadai gives a highly stylized yet mesmerizing performance as Lord Hidetora, an elderly Japanese ruler who bequeaths rule to one of his young sons, only to watch the power corrupt him and lead to a downfall of his entire lineage.

This is a Shakespearean story, but it also has echoes of Greek tragedy, as we are witness to the disintegration of a family as a result of mere politics and the megalomania inherent in ruling an entire area.

Nakadai commands the film as the elderly former ruler, who must endure the banishment and condemnation by his own sons, and who is further weighed down as he reflects on past sins committed in order to maintain his stature as ruler.

The makeup in the film is really effective, and somewhat of a character as well. As Hidetora further deterioriates and finds himself becoming less of a figure of importance as a result of the corruption of his sons, his makeup becomes more and more cadaverous as well, revealing a ghastly shell of a once-powerful man.

The muted lens also gives the color an interesting look in the film, as does the weather elements, a common theme in Kurosawa's films. Furthering the friction in the family as well is the horrible maiden Lady Kaede, who is shot in an almost ghost-like manner in some scenes of the film.

Her distinct walk, with sound of fabric rubbing against itself, signaling her walking into the room, also effectively symbolizes the arrival of evil once again into the ordeals and affairs of the family at the heart of the film.

Finally, one cannot mention this film without touching on the battle sequences. Vivid, flushed with color, and impeccably choreographed, great fight sequences at their best are like a sophisticated ballet, and Kurosawa made for a highly impressive dance instructor.

This film further indicates that even in the twilight of his career, Kurosawa could still prove his stature as one of the word's finest directors.