Kurosawa began imagining what would have happened had they been bad. He forcefully disagreed with Hidetora's decision to leave most of the land to Taro, arguing that if Hidetora built his empire on bloodshed and treachery then there was no way he could expect his three sons to be loyal to him and to one another. Saburo's decision to rescue Hidetora ultimately draws in two rival warlords and leads to an unwanted battle between Jiro and Saburo, culminating in the destruction of the Ichimonji clan. Jiro's army promptly disintegrates and flees back to the castle, with Ayabe's forces quickly arriving to besiege it. Instead of love we choose death and destruction! Or does it imply the underlying corruption of this code of honor, which ultimately leads to nothing but chaos and suffering? Kurosawa also illustrates this new warfare with his camera.
Stray Dog is also discussed there. News also reaches Jiro that two rival lords allied to Saburo Ayabe and Fujimaki have also entered the territory, forcing Jiro to hastily mobilize his army. The score is anchored by the Motif of Doom, which is intimately associated in the microcosm with the demise of Hidetora himself, and in the macrocosm with the demise of House Ichimonji. However, one of the snipers Jiro had sent after Saburo's small group shoots and kills Saburo. The film used approximately 1,400 extras, which required 1,400 uniforms and suits of armor to be fabricated. Overcome with grief, Hidetora dies.
Kurosawa began imagining what would have happened had they been bad. The two are reunited and Hidetora comes to his senses. Ran was previewed on May 31, 1985, at the before its release on June 1, 1985, in Japan. This allows Taro and Jiro to take charge, unopposed, leading to a brutal and bloody struggle for the absolute power of the warlord. Instead of focusing on the warring armies, he frequently sets the focal plane beyond the action, so that in the film they appear as abstract entities.
Despite its limited commercial success at the time of its release, the film's accolades have improved greatly, and it is now regarded as one of Kurosawa's masterpieces. Serge Silberman then tried to get it nominated as a French co-production but failed. Both depict an aging warlord who decides to divide up his kingdom among his children. When the pivotal siege at the third castle begins, the ambient soundtrack goes silent in favor of a lurching orchestral dirge. Kurosawa tried to start an independent production group with three other directors, but his 1970 film was a box-office flop and bankrupted the company.
We bear witness to a family, which divides against itself, descending into brutal armed hostilities that ultimately destroy House Ichimonji. Ran was also nominated for , , and which it won. It is a scene of human evildoing, the way of the demonic , as seen by a in tears. It proves to be a fatal mistake. Saburo's army retreats into the woods for cover and fires on Jiro's forces, frustrating the attack. Ran was Kurosawa's second encounter with Shakespeare during his filmmaking career.
With Taro dead, Jiro becomes the Great Lord of the Ichimonji clan, enabling him to move into the First Castle. The conflict over royal succession is set deep within natural symbols--scudding clouds, sunsets, panoramic landscapes--because, for the combatants, this conflict is as elemental as the winds and the rain. Meanwhile, Tsurumaru and Sué arrive at the ruins of a destroyed castle but inadvertently leave behind the flute that Sué previously gave Tsurumaru when he was banished. Kurosawa had already dealt with this theme in his previous film , with the destruction of the Takeda cavalry by the arquebuses of the Oda and Tokugawa clans. When they all failed, Motonari preached how one arrow could be broken easily but three arrows could not. Though he survived, his misfortune continued to plague him until the late 1980s. We are offered an excruciating tragedy, which reveals deception, envy, treachery, betrayal and hubris.
Hidetora's third castle, which was burned to the ground, was actually a real building which Kurosawa built on the slopes of. The sound quality thanks to the mastering of Rick Clark was excellent. Saburo points out, though, that Hidetora himself achieved his stature through betrayal and ruthlessness, so the idea that the three sons would play fair with one another if given the power to wage war is foolishness. An angry Hidetora banishes him and sets into motion events, which unleash chaos and the dogs of war. Hidetora is discovered wandering in the wilderness by Tango and Kyoami, who along with Saburo are the only people still loyal to him.
They take refuge in a peasant's home only to discover that the occupant is Tsurumaru, the brother of Lady Sué, Jiro's wife. And then there's a director named , who did a film called The Sword of Doom - this was a very difficult film for me. Takemitsu responded with what many describe as his most romantic effort, one that achieved a perfect blending of Oriental and Occidental sensibilities. In a short but violent siege, virtually all defenders are slaughtered as the Third Castle is set alight. As Taro and Jiro's forces storm the castle, Taro is killed by a bullet fired by Jiro's general, Kurogane. Wood percussion, taiko drums and a wailing shinobue shatter the ambiance as a wild boar appears and Lord Hidetora and his escorts pursue it for the kill. Many of the other actors had also appeared in other late Kurosawa films, such as Jinpachi Nezu Jiro and Saburo in Kagemusha.