What kind of individual takes invoice shakespeare’s king lear, arguably one of the most harsh works in his bibliography, and embarks on a creative undertaking to make that story even harsher? Akira kurosawa, of route, who in 1985 determined to tickle himself by means of making ran, less an edition than it is a complete-scale redecorate of shakespeare’s textual content: kurosawa relocates the movement to sengoku-era japan from britain, adjustments lear into the pernicious hidetora ichimonji, turns his daughters into sons, and commonly speakme layers so much tragedy upon the founding tragedies of the shakespeare play as to make it seem sunny through comparison.
But does it qualify as a struggle film? Conflict does creep across ran’s frames, slowly at the beginning and increasingly so as soon as the first hour passes, but it's far perhaps misleading to describe kurosawa’s motion scenes as such. It’s more correct to think about them as massacres, in reality, violent, terrifying, and deafening montages of carnage in which infantrymen slaughter each other and onlookers decide it’s higher to off themselves than watch for the blades of their attackers. Warfare is continually an ugly affair, however kurosawa’s vision renders it maddening and ghoulish in ways most conflict films surely don’t.