Twenty years on from first watching this film on (pan-and-scanned, no doubt) VHS at home, my chief memory of the film is a lot of horses rushing back and forth with primary-coloured flags — and yes there’s quite a bit of that in the film — but seeing it on the big screen seems to make a lot more sense of its human machinations. Those battle scenes do get a little repetitive by the film’s close, but the use of the coloured flags makes the engagements easier to follow, and there’s a real sense of physicality that you don’t get with massed CGI encounters of more recent films. Ran also feels like Kurosawa’s swansong (he’d do a few more, smaller-scale, films before his death a decade later), and at the very least it’s his farewell to the samurai period epic he’d become most well-known for after the break-out success of Seven Samurai (1954). The story, as is well known, follows the contours of Shakespeare’s King Lear, with an elderly warlord Hidetora (Tatsuya Nakadai) ceding control of his kingdom to his eldest child — the three here are sons — and in so doing, banishing his youngest, Saburo (Daisuke Ryu). When the elder two turn on him, he’s left almost alone, except for his fool, wandering in the wilderness of the Azusa Plain, driven almost to madness by the treachery. The staging is exemplary, with some spectacular and memorable imagery, such as a scene of Hidetora staggering out of a bloodied rampart as it burns to the ground, or an opening hilltop meeting amongst all the local warlords. As the film progresses, the second son’s wife Lady Kaede (Mieko Harada) unexpectedly comes to the fore, quickly becoming the most notable obstacle to peace in the kingdom and pushing the film to its chaotic ending (the Japanese title means “chaos”). And all along the way, Kurosawa presents images of Buddha, implacably and serenely unconcerned with what is going on in the muddy, windswept plains beneath, as they increasingly run with blood.
(Written on 18 April 2016.)
FILM REVIEW: Criterion Collection
Director Akira Kurosawa 黒澤明; Writers Kurosawa, Hideo Oguni 小国英雄 and Masato Ide 井手雅人 (based on the play King Lear by William Shakespeare); Cinematographers Takao Saito 斎藤孝雄, Masaharu Ueda 上田正治 and Asakazu Nakai 中井朝一; Starring Tatsuya Nakadai 仲代達矢, Daisuke Ryu 隆大介, Mieko Harada 原田美枝子; Length 162 minutes.
Seen at BFI Southbank (NFT2), London, Sunday 17 April 2016 (and earlier on VHS at home, Wellington, July 1997).
The latter half of Kurosawa’s career is dominated by the two enormous epic-length huge-scale period samurai films he directed in the 1980s, the best known of which is Ran, an adaptation of King Lear (and which will come up soon in the Criterion Collection). However, Kagemusha deserves to stand alongside it and is, in my meagre opinion, possibly better than similar works (like Seven Samurai) from earlier in his career. Partly it’s because the time it took to mount the production meant Kurosawa had a clearer idea of how he wanted the film to look (as attested by the many colourful and detailed storyboards he painted in preparation). However, there’s also a real feeling to the predicaments each of the characters finds themselves in, most of all the kagemusha (or “double”) of the title, who must impersonate a clan chief (both played by Tatsuya Nakadai) and, upon the chief’s death, finds himself doing it full-time in order to confound the clan’s enemies. This sense of what it takes to be a major political actor, a role that even a humble thief can aspire to, gives the film a pathos, a real glimpse behind the machinations of power. There are of course other themes, like the encroachment of Western ideas (whether the brief glimpse of monks, or the sound of guns that overwhelms the traditional weaponry) and the danger of youthful hubris. But for all its length this is a human-sized story about leadership and power, and a beautiful one too in coordinating all the colour and movement across the screen.
- There’s a 20-minute featurette interview with Francis Ford Coppola and George Lucas, who were both instrumental in securing American funding to complete the film, and wax lyrical about their love for Kurosawa, which makes sense if you’ve seen any of their films.
- There’s a small gallery of side-by-side comparisons of Kurosawa’s immaculately painted storyboards with shots from the film, showing how he rendered literal these imaginative sketches.
- One of the more interesting extras is a series of five minute or half-minute Suntory whiskey commercials made on the set of Kagemusha, some of which amusingly feature Akira and Francis clinking glasses while looking over images from the film.
FILM REVIEW: Criterion Collection
Director Akira Kurosawa 黒澤明; Writers Kurosawa and Masato Ide 黒澤明; Cinematographers Takao Saito 斎藤孝雄 and Masaharu Ueda 上田正治; Starring Tatsuya Nakadai 仲代達矢, Tsutomu Yamazaki 山崎努; Length 180 minutes.
Seen at home (DVD), London, TBC 2019.