乱8.9

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• 来自网友【他他】的评论Title: RanYear: 1985Country: Japan, FranceLanguage: JapaneeseGenre: Drama, WarDirector/Editor: Akira KurosawaScreenwriters: Akira Kurosawa, Hideo Oguni, Masato Ideinspired by the play by William ShakespeareMusic: Tôru TakemitsuCinematography: Asakazu Nakai, Takao Saitô, Shôji Ueda Cast:Tatsuya NakadaiPîtâJinpachi NezuMieko HaradaAkira TeraoDaisuke RyûHisashi IgawaYoshiko MiyazakiMansai NomuraTakeshi NomuraMasayuki YuiNorio Matsui Jun TazakiHitoshi UekiTakeshi KatôKenji KodamaKazuo KatôToshiya ItoRating: 8.3/10Kurosawa's sweeping epic in the later stage of his illustrious career, RAN (literally it means "chaos"), the most expensive Japanese film ever upon its release (co-produced by France), could be rightly regarded as a crowning creation that best expresses and exemplifies his ambition and unmatched artistry. Shot in full-blown color on Mount Fuji, RAN marks a third (and the last) time Kurosawa seeks his inspiration from the Bard. Substantially a retelling of King Lear transposed to a Sengoku period Japan (from late 15th century to the end of 16th century), it carries the notable tragedy’s pathos-invoking relentlessness and transcribes the play's orotund cothurnus to a highly affective Japanese theatricals. Yet, overwhelming audience with the sumptuousness of its grand landscape, each individual usage of its sublime hue in both manufactures and natural habitat (including the bloodstained savagery), the textural richness of its authentically handcrafted costumes and armors, plus its minimalistic interior setting, RAN feels anything but stagey. Moreover, when its actions are unleashed, Kurosawa’s orchestration of battlefield formations and maneuvers, stunt performances amid rampageous horses, still retains its supernal efficacy, verisimilitude and pathos par excellence ever since his groundbreaking achievement in SEVEN SAMURAI (1954). Let alone the splendor of the conflagration images. It is a towering testimony of a cinematic auteur operating on his most unbridled command and imagination. An aging warlord Hidetora Ichimonji (Nakadai, in a yeti-like, ghastly makeup to sham senility, filling the shoes of Toshirô Mifune, who was in the right age to play the role, but had fallen out with Kurosawa) makes a rash decision of his succession plan only for it backfires. His third son Saburo (Ryû) is exiled for his dissent; his eldest son Taro (Terao) is pussy-whipped by his vengeful wife Lady Kaede (Harada) to banish Hidetora from his castle, while his second son Jiro (Nezu) harbors an even bigger ambition to rule the roost. After his loyal underlings and household members are ambushed and slaughtered by the collaborative armies of Taro and Jiro, Hidetora is driven mad by this inconceivable betrayal, wandering over the volcanic land with only his jester Kyoami (Pîtâ) tagging along. When Saburo comes to his father’s rescue, a hearty reconciliation briefly brings Hidetora back to his senses, who rues the day of his misjudgment of his offspring. But as fit for a tragedy of the highest water, the internecine Ichimonji clan cannot escape from the fate of total ruination. At the end of the day, it fulfills Lady Kaede’s death wish of reprisal, attuned to Shakespeare’s pathos-ridden dithyramb of human frailties. The final shot of a blind Tsurumaru (Nomura), the younger brother of Lady Sue (Miyazaki), the meek wife of Jiro, standing near the crumbling wall of the castle, waiting in vain for his sister’s return. His profile against the westering gloaming, is a pluperfect image of “mono no aware”, a national spirit carried over on the silver screen from Ozu to Kurosawa and Imamura.Vis-à-vis the performances, Nakada acquits himself staunchly as an attitudinizer of heightened emotions which, save for Pîtâ’s overflowing levity, does not align with the stoical solemnity from the rest of the cast. Among which Harada stands out like a pestilent dagger, with her fierce intensity and catch-as-catch-can manipulations, Lady Kaede is more captivating to keep audience rapt for her minutely concocted scheme than all the masculine bemoaning and battling, which is the meat of RAN. Still why she is spoiling for the head of Lady Sue, who doesn’t and cannot pose any threat to her? Is it simply out of a pure spite for another woman who shares her man? Which changes Lady Kaede from a resolute avenging angel for her family to a bloodthirsty monster. It may seem irreverent, but female characterization could be Kurosawa’s feet of clay if one strains to find one. referential entries: Kurosawa's SEVEN SAMURAI (1954, 8.4/10); DERSU UZALA (1975, 7.7/10).
• 来自网友【Amber the great】的评论看之前就知道从剧情上面不算原创，是参照了莎士比亚的李尔王，所以一开始没有觉得会很好，但是看完之后真的值得五星。前段时间看了苏联拍的战争与和平四部曲，跟乱一样都是投资巨大的上世纪巨作，但是乱真的从细节画面和情感表达上比战争与和平高出一大截，应该说不愧是有亚洲文化圈的细腻文明积淀吗，看的时候真的会产生在享受的感觉。但是最后真的好悲啊，最后鹤丸的画面真的看的揪心😖不过枫夫人这个恶女角色，我从她要跟二郎在一起的时候就在想了，这个女人绝对在下一盘大棋