They don’t make them like Akira Kurosawa’s magisterial “Ran” anymore, but the truth is, they didn’t really make them like this regal epic back then either.
Now screening in a new 4K digital restoration, “Ran” reminds us what a singular gift director Kurosawa had. His films stood out from the crowd then, and they do even more so now. (Chris Marker’s “A.K.,” a revealing documentary on the shooting of “Ran,” will also be showing.)
Kurosawa was attracted to tales from Shakespeare because they suited his particular gifts as a filmmaker. What’s remarkable about “Ran” is that the drama enhances the spectacle the same way the spectacle bolsters the drama. Few other directors had Kurosawa’s ability to convey the intimate as well as the epic, to handle stillness as well as violence.
“Ran” (the title means “chaos” or “turmoil”) is set during the constant warfare of 16th century Japan. The Lear-type figure is Hidetora, referred to as the Great Lord, and convincingly played not by Kurosawa regular Toshiro Mifune but by Tatsuya Nakadai, one of the bad guys in “Yojimbo” and “Sanjuro” and an unforgettable psychotic killer in “Sword of Doom.”
Only one son, the blunt and forthright Saburo (Daisuke Ryu), speaks his mind, calling the plan downright foolish and getting banished for his trouble. As “Ran” unfolds slowly but inexorably over its two-hour and 42-minute length, we gradually see how right he was.
Aside from changing Lear’s daughters to Hidetora’s sons, “Ran” makes some interesting changes to the story. For one thing, it takes pains to give Hidetora a very specific back story of bloodshed and destruction that poisons his plans for the future.
For another, Kurosawa and co-screenwriters Hideo Oguni and Masato Ide create the spectacularly chilling character of Lady Kaede (Mieko Harada), the wife of Hidetora’s eldest son, a seductive schemer who has issues of her own with her husband’s family and no compunction at all about seeking revenge.
What people remember most about “Ran,” however, are its bravura visuals and the detailed way in which Kurosawa and his team created this very specific milieu. The director had each of half a dozen competing armies color-coded in terms of their gear, and Oscar-winning costume designer Emi Wada spent three years creating 1,400 costumes. Kurosawa mandated that authentic-to-the--16th-century weaving and dying techniques be used, not blinking when it added $1 million to the budget.
The centerpiece of the film is a six-minute battle scene daringly conceived with no sound or dialogue on the soundtrack, only Toru Takemitsu’s unnerving score. The action is choreographed and shot with such unnerving skill by Kurosawa’s trio of Oscar-nominated cinematographers — Takao Saito, Masaharu Ueda and Asakazu Nakai — that we feel both immersed in the battle and an eavesdropper on reality.
Note: A version of this review ran at the time of the film’s rerelease in 2010.
No MPAA rating
Running time: 2 hours, 42 minutes
Playing: Laemmle’s Ahrya Fine Arts, Beverly Hills