is an apt title for this film as it is synonymous to Japanese films to frequently run; into battle or for a messenger, or merely between conversing, fretting Shogun Warlords. In fact, Ran means "rebellion", "uprising" or "revolt", or to mean "disturbed" or "confused" in Japanese. All these translations can be used to describe an aspect of this amazing film.
Based on the tragedy of King Lear, yet fused with Historical events featuring real Emperors, who similarly, divided and conquered their land, Ran is a film drenched in rich complexities. What comes across most strongly is the melodramatic way in which this doomed story is conveyed. Kurosawa (Seven Samurai) really elaborates on the mythical elements of the combined history and fiction. However, more depth is added as Shakespeare's King Lear is based on a mythological pre-Roman Celtic king. It is interesting that these events have many similarities to other found across the globe in a completely different culture. So much so that the tradegy of greed, and desire to protect successes through one's family, seems inherent in human nature. 
Next, Kurosawa retains the influences of theatre. The Globe is typically Elizabethan, yet the style of 'mystical intensity' thus described by Munakata Ueda (a pioneer in Noh Shakespeare), lends itself well to the poetic, dramatics of Noh Theatre. The circular globe is replaced with the square, wooden beams of a traditional Japanese shelter. Furthermore, the rich yet slow atmosphere is interspered with satirised sections and comical characters similar to the jesters or comedians that feature in Shakespearean tales.Briefly, King Lear, or Hidetora has three 'loyal?' sons; Jiro, Saburo and Taro; for whom he divides the Kingdom. However, lust for power, manipulation from wives ensue, and battles and complications take place. Here is a link to a more detailed story
The film is a masterpiece. Kurosawa's attention to detail is exquisite and sustain's the reader's fixation for the running time of three hours. The atmosphere is your living room/cinema stills. Every melodramatic exclamation made by King Hidetora; every stab of a sword, or charge of uniformed soldiers, who move in unison like a menacing, black wave, is amplified. There is not one fixed colour palete. Kurosawa's atmosphere alters in each setting. The costumes and props revolve around the primary colours as each colour is allocated to one of the sons. I assume this is where inspiration for Power Rangers stems from. However, there is the contrasting hues that are prevalent in nature, and therefore are dependant on terrain- the barren and bleak greys of the wasteland reflect the misery and confusion of Hidetora in his inevitable (tragic) downfall. Yet the pinks and fresh green colours of beauty and plants radiate from the fertile hills and purer, more innocent characeters. Skin is an interesting canvas on which to add to the art of the film. As Hidetora becomes more and more decrepit, his face dirties and hollows out as the features become ringed with black makeup.
The devious seductress Lady Kaede is one of the most conniving women in all of film history, nevertheless, her determination is quite inspiring. Her make up has inspired Princess Amidala from the Star Wars prequels. Plus, the costume designer Emi Wada uses very unique designs that are not as traditional, using possibly 60's print (at least, very modern patterns). Her stunning qualities enriches the presence she commands on screen as she wades in the heavy kimonos. I think it is her serenity, that, juxtaposed with her outburst of precise ferocity is what makes her so impressive. One wonders what schemes she must devise when she sits cross-legged and ceremonial.The soundtrack is equally haunting. Woodwind and stringed instruments played tentatively (yet still producing a good sound, confident in its disharmony) to create the ambient and almost lonely themes which reflects the questioning atmosphere of the characters, and the director himself.
Kurosawa has ultimate confidence as a film director to force the viewer to wait, and watch as observers of his creation. This is also relevant to the battle scenes. The scenes are as far away from Hollywood drama as can be. It is refreshing to see such well choreographed fights with less emphasis on individual toil, transitioned to the horror and destruction from the strength of the army of the prevailing brother. The image of the burning fortress, standing erect between yellow and red armies could symbolise Hidetora's mental and physical hell. Moreover, Kurosawa could be attempting to enlighten his audience to a human society that is doomed if it continues in greedy pursuits. This is furthered by the the shock that is shown so melodramatically on the face of Hidetora as he realises the terror he has caused to so many people. Innocent Lady Suë's
attempts portray redemption as positive are too late and therefore quite futile. As this film is Kurosawa's last Samurai epic, it could be his last jab at the destructive feudal society of 16th century Sengoku Japan, and perhaps suggesting we have not learnt from the mistakes in the past?*****
