Directed by Akira Kurosawa

A year or so ago I had the privilege to review the movie Kagemusha by the master director, Akira Kurosawa. I found the production a little confusing and rated it two stars for synopsis and extras, but five stars for its overall effect! The simply stunning evocation of the time in feudal Japan combined with sublime direction and captivating use of colour and music made the production one of my favourite foreign language movies of all time!

RAN is another stunning production of 20 years later by the sensei (master) that is a similarly spectacular piece; this time presented as a 2-disk collector set with a few advantages over the earlier title (I had hoped?). It also happens that I bought this movie on DVD from overseas quite a while ago, based on my ?love affair? with Kagemusha. As a result, I will be occasionally judging this package to the earlier (overseas) release?

My apologies to those who already know the original play that this movie is based upon; but RAN is an adaptation of the Shakespeare tragedy King Lear, with the major difference being the use of sons, as compared to daughters as the monarch?s offspring in the case of the original play.

Hidetora (Tatsuya Nakadai who, 20 years earlier played the Shadow Warrior in Kagemusha), is a great though ageing and tired warlord in feudal Japan who has a frightening premonition; and while still alive decides to bequeath his title, first castle, wealth and overall authority of the Johinjo empire to his first named son, Tora. To his succeeding sons ? Jiro and Saburo ? he bequeaths the realm?s second and third castles with their attending lands. The first two sons appear to accept this proposal quite readily; but Saburo openly rebukes his father, hinting that his sons cannot be trusted to maintain the realm in unity and contentment. Insulted, Hidetora banishes Saburo and carries on with his plan.

Almost immediately Hidetora finds that Tora, his Number One Son (pushed very forcibly by his wife) has no plans to show respect to his pater; and after a number of humiliations, Hidetora departs castle one to see Number Two Son at castle two. Jiro, who is already showing signs of plotting to overthrow Number One Son; takes Tora?s initiative and treats Hidetora accordingly, forcing him to seek refuge at castle three, now with arrest (and possible execution) threats against him.

Believing to be safe; Hidetora then faces the ultimate insult when the combined forces of the two senior sons overrun the castle, with his personal bodyguard and concubines massacred. The ever-adventurous Jiro takes the opportunity during this assault to have his older brother ?accidentally? killed in the battle.

I hope you?re keeping up with this?!

Hidetora, now a totally broken man, is allowed to leave castle three and roam in the wilderness to die. But waiting in the wings are two loyal allies of Number Three Son (Saburo) who take care of the now mad old man. Becoming aware of what has befallen his father, Saburo eventually accepts the opportunity to destroy the prodigal second son, Jiro.

In a climatic battle, Jiro and his forces are routed, and Hidetora regains enough sanity to realise that his youngest son was, after all, the only one who loved and respected him. Not that the ending is particularly happy?

I could go on with the storyline, but I think that covers the main points.

The story as a whole has many, many more subplots than I have indicated (Gee, Shakespeare wasn?t a bad writer!) and I have to be honest in saying that I benefited greatly by seeing this movie twice ? on the first occasion I found the storyline too complicated to comprehend in the one sitting.

It is interesting to note that Kurosawa never found any great pleasure in portraying violence; yet he is one of the masters of depicting the result of violence through quite graphic scenes of massacre, and the vivid use of the colour red that often flows… For a fellow who abhors gratuitous violence and the overuse of gore to provide ?entertainment?, I find Kurosawa?s depictions quite satisfactory; noting his general avoidance of in-your-face battle scenes. I can remember the final battle sequence of Kagemusha with much admiration ? not one combat scene is shown, but the sight of the battlefield after the event is as horrifying as I can remember in cinema.

THE EXTRAS

There are no special features beyond language, audio and chapter selection menus on disk 1. What a great pity that there is no feature length commentary for such an important feature!

Disk 2 contains the following special features:

? A theatrical trailer that appears to be French in origin ? typically it is a ?teaser? that gives absolutely nothing away about the movie?s plot!

? A.K. ? a 71-minute ?making of? documentary (thankfully different to others that I have) from the French producers of the feature film. It is a little strange in that it seems a little disorganised, is sparsely narrated, and that it seems to have no beginning ? it immediately cuts to Kurosawa on the set of ?RAN? showing the sensei in his mid-70s at work. It still clearly shows the man?s respect towards his cast and fellow crewmembers, and quickly establishes the awe in which he was held. It is also nice to see cast members and extras seemingly enjoying themselves. I welcome the fact that this is NOT one of your typical Hollywood backslapping fests they call ?making of ? documentaries?!

This is not the best doco I have seen by any stretch of the imagination, but it still has some good moments. The documentary is in stereo and appears to have an aspect ratio of 14:9.

CONCLUSION

RAN is another fine example of the craft of Akira Kurosawa, a director who has had considerable influence in his homeland and on the world scene. Anyone with a rudimentary knowledge of film history will know that some of his earlier masterpieces (Seven Samurai and Rashomon, for example) have been the inspiration for some of the English-speaking world?s better-known cult features. And who else but Kurosawa would have had the gall to adapt Shakespeare to feudal Japan!? Once again his use of light and colour are an absolute delight, and a feature of his work that sets his films way above the ordinary. Add to this is his deft use of music to add atmosphere to his productions.

Some people may find aspects of the acting a little ?stagy?, and reading subtitles a little difficult; but anyone with the time and inclination for good cinema will find this picture a highly rewarding experience. I will repeat, though, that a second viewing is highly recommended to gain a full appreciation of the storyline ? a credit to both the sensei and Shakespeare?

As a postscript, I have noted that at least one other reviewer has recommended the use of the stereo (English-dubbed) soundtrack. Take your pick!