| Videos |
| Tatsuya Nakadai | ... | Lord Hidetora Ichimonji | |
| Akira Terao | ... | Taro Takatora Ichimonji | |
| Jinpachi Nezu | ... | Jiro Masatora Ichimonji | |
| Daisuke Ryu | ... | Saburo Naotora Ichimonji | |
| Mieko Harada | ... | Lady Kaede | |
| Yoshiko Miyazaki | ... | Lady Sue | |
| Hisashi Igawa | ... | Shuri Kurogane | |
| Peter | ... | Kyoami (as Pîtâ) | |
| Masayuki Yui | ... | Tango Hirayama | |
| Kazuo Kato | ... | Kageyu Ikoma | |
| Norio Matsui | ... | Shumenosuke Ogura | |
| Toshiya Ito | ... | Mondo Naganuma | |
| Kenji Kodama | ... | Samon Shirane | |
| Takashi Watanabe | |||
| Mansai Nomura | ... | Tsurumaru (as Takeshi Nomura) | |
| Takeshi Katô | ... | Koyata Hatakeyama | |
| Jun Tazaki | ... | Seiji Ayabe | |
| Hitoshi Ueki | ... | Nobuhiro Fujimaki | |
| Takao Zushi | |||
| Yoshitaka Zushi | |||
| Tetsuo Yamashita | |||
| Akihiko Sugizaki | |||
| Masaaki Sasaki | |||
| Yoshimitsu Yamaguchi | |||
| Masuo Amada | |||
| Masaru Sakurai | |||
| Sakae Kimura | |||
| Ryojiro Oki | |||
| Hanbei Kawai | |||
| Ryo Nagasawa | |||
| rest of cast listed alphabetically: | |||
| Yûichi Hibi | |||
| Tokie Kanda | ... | Sue's lady in waiting (uncredited) | |
| Sawako Kochi | ... | Hidetora's concubine (uncredited) | |
| Reiko Nanjo | ... | Hidetora's concubine (uncredited) | |
| Kumeko Otowa | ... | Sue's lady in waiting (uncredited) | |
| Heihachiro Suzuki | ... | Fujimaki's General (uncredited) | |
| Haruko Togo | ... | Kaede's lady in waiting (uncredited) | |
Directed by | |||
| Akira Kurosawa | |||
Writing credits | ||
| Akira Kurosawa | (screenplay) and | |
| Hideo Oguni | (screenplay) and | |
| Masato Ide | (screenplay) | |
| William Shakespeare | play "King Lear" | |
Produced by | |||
| Katsumi Furukawa | .... | executive producer | |
| Masato Hara | .... | producer | |
| Hisao Kurosawa | .... | associate producer | |
| Serge Silberman | .... | producer | |
Original Music by | |||
| Tôru Takemitsu | |||
Cinematography by | |||
| Asakazu Nakai | |||
| Takao Saitô | |||
| Shôji Ueda | |||
Film Editing by | |||
| Akira Kurosawa | |||
Production Design by | |||
| Shinobu Muraki | |||
| Yoshirô Muraki | |||
Set Decoration by | |||
| Jiro Hirai | |||
| Miysuyuki Kimura | |||
| Yasuyoshi Ototake | |||
| Tsuneo Shimura | |||
| Osumi Tousho | |||
Costume Design by | |||
| Emi Wada | |||
Production Management | |||
| Seikichi Iizumi | .... | production manager | |
| Satoru Iseki | .... | production manager | |
| Masayuki Motomochi | .... | unit manager | |
| Teruyo Nogami | .... | production manager | |
| Takashi Ôhashi | .... | production manager | |
| Ulrich Picard | .... | general production manager (as Ully Pickard) | |
| Tsutomu Sakurai | .... | unit manager | |
Second Unit Director or Assistant Director | |||
| Bernard Cohn | .... | first assistant director | |
| Vittorio Dalle Ore | .... | assistant director | |
| Ishirô Honda | .... | chief assistant director (as Inoshiro Honda) | |
| Takashi Koizumi | .... | assistant director | |
| Kunio Nozaki | .... | assistant director | |
| Fumisake Okada | .... | assistant director | |
| Kiyoko Watanabe | .... | assistant director | |
| Ichirô Yamamoto | .... | assistant director | |
| Okihiro Yoneda | .... | assistant director | |
Sound Department | |||
| Takayuki Goto | .... | assistant sound | |
| Soichi Inoue | .... | assistant sound | |
| Takenori Misawa | .... | assistant sound | |
| Hideo Takeichi | .... | assistant sound | |
| Claude Villand | .... | final mix | |
| Fumio Yanoguchi | .... | sound recordist | |
| Shôtarô Yoshida | .... | sound recordist | |
| Jean-Marc Lentretien | .... | sound mix technician (uncredited) | |
Camera and Electrical Department | |||
| Kiyoshi Anzai | .... | assistant camera | |
| Noburu Asono | .... | assistant camera | |
| Koji Choya | .... | electrician | |
| Daizaburo Harada | .... | still photographer | |
| Hidehiro Igarashi | .... | assistant camera | |
| Yoshio Iyama | .... | electrician | |
| Koichi Kamata | .... | electrician | |
| Nobuyuki Kito | .... | assistant camera | |
| Mutsuo Komine | .... | electrician | |
| Kosuke Matsushima | .... | assistant camera | |
| Masakazu Oka | .... | assistant camera | |
| Yuichi Oyama | .... | electrician | |
| Makoto Sano | .... | electrician | |
| Takeji Sano | .... | gaffer (as Takeharu Sano) | |
| Yoshio Sato | .... | still photographer | |
| Tetsuo Sawada | .... | electrician | |
| Yoshinori Sekiguchi | .... | assistant camera | |
| Satoru Suzuki | .... | assistant camera | |
| Shigeo Suzuki | .... | assistant camera | |
| Shintaro Tazaki | .... | electrician | |
Costume and Wardrobe Department | |||
| Akira Fukuda | .... | assistant wardrobe | |
| Kazuko Numata | .... | assistant wardrobe | |
| Noriko Taguchi | .... | assistant wardrobe | |
Editorial Department | |||
| Hideto Aga | .... | assistant editor | |
| Hajime Ishihara | .... | assistant editor | |
| Ryusuke Otsubo | .... | assistant editor | |
Music Department | |||
| Hiroyuki Iwaki | .... | conductor | |
Other crew | |||
| Anne Brav | .... | subtitler | |
| Ishirô Honda | .... | director's counselling | |
| Masahiko Kumada | .... | production assistant | |
| Hisao Kurosawa | .... | production coordinator | |
| Ko Nauri | .... | production assistant | |
| Takeo Suga | .... | accountant | |
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| Kaidan | Andrey Rublyov | Gone with the Wind | Que la fête commence... | The Good Earth |
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Ran is probably cinema's greatest rendition of a Shakespearean Epic, ironically coming from an oriental film-maker. Adapted by Kurosawa from Shakespeare's King Lear, Ran undoubtedly features amongst the best works of the master auteur. It captures with sheer vividness and surreal resplendence, the true essence of human struggle for survival, highlighting the cruelties associated with life. Ran is strictly indicative of the sole consistency of life i.e. change, an attribute that not only makes the humans vulnerable but also gives them the hope to rise after a fall.
The story focuses on a senile warlord, who owing to his senescence is rapidly losing his strength and his ferocious grandeur that he had earned through years of relentless savagery and ruthless slaughter, ergo he renounces to his three sons, hoping them to establish a sort of a triumvirate with the eldest son having a slight edge. His two elder sons accept the proposal with rapturous glee, but his youngest son seems bemused and questions the wits of the patriarch for taking the untimely decision. Though arrantly annoyed by his son's audacious defiance, he tries to console him, only to find him inconsolable. Deeply hurt by his son's impertinence and censure, he reluctantly banishes him and enthrones the two elder sons. The rest is rather worth a watch than a read, for there is nothing that can better the sumptuous elegance of Ran.
The brilliantly captured scenes are breathtaking to say the least, especially the war scene that depicts fate casting the final blow to the ruthless reign of the warlord. The brutality and the bloodshed depicted in the very scene can make even a cold-blooded appear jittery. Ran portrays the poetic justice in such a relentless and abominable fashion that one can't help but sympathize with the narcissistic warlord, who spent his life arrogating and annihilating the innocent souls. The plaintive score gives the movie a much desired tone, a mood that not only supports its melancholic backdrop, but also immensely adds to its poignant beauty. The final scene featuring the blind boy, deeply clutched by his haplessness and gross solitude, though doesn't feature an utterance of even a single syllable, the playback of the mystical flute makes the scene haunting as well as mesmerising and worth a thousand words. Ran is a classic example of Kurosawa's brilliance and perhaps a consummation of his apotheosis.
A must watch for eclectic viewers and admirers of pristine cinema. Highly recommended: 10/10.