The re-release ofAkira Kurosawa’s 1985 epicRan(the word means “chaos”) is an opportunity to see this stunning free transformation of King Lear, one of the greatscreen adaptations of Shakespeare. Perhaps it was the defamiliarising effect of Kurosawa’s film which, for me, opened up the meaning of Lear: a kind of human arrogance and self-importance which, in the face of mortality, needs to believe the world will be a divided and diminished thing when we are gone.
As well as Lear,Randraws on the dark spirit of Macbeth, with its images of a scheming wife, a throne of blood and massed soldiery: fatally misleading and ominous, as in Dunsinane. After a lifetime of brutal rule, ageing feudal lord Hidetora (Tatsuya Nakadai) tells his three sons Taro (Akira Terao), Jiro (Jinpachi Nezu) and Saburo (Daisuke Ryû) that he proposes to abdicate, leaving the kingdom divided between them. Baffled, Saburo derides this plan, earning banishment, and the remaining two brothers, greedy and duplicitous in ways they have clearly inherited from their now fatuously sentimental old dad, plunge the country into chaotic civil war, incited by Taro’s wife Lady Kaede (Maeko Harada). Hidetora loses his mind with anguish and horror, and roams the vast plain, with his jester Kyoami (Pîtâ) and his doggedly loyal vassal Tango (Masayuki Yui).
By changing Shakespeare’s daughters to sons, Kurosawa removes from his fable the possibility of feminine importance and sympathy: there is no counterpart of Cordelia, nor any real equivalent of Lear and Cordelia’s reconciliation. What the gender-shift does is foreground the violence, machismo and paranoia, which feed into staggering battle scenes, particularly the dream-like siege sequence, silent except for the orchestral score. If anything, Ran is even darker and more pessimistic than the original.
Ran is in UK cinemas from 27 June, and a 40th Anniversary Collector’s Edition is on UHD and Blu-ray from 21 July.