Ran Page #3

Synopsis: Japanese warlord Hidetori Ichimonji decides the time has come to retire and divide his fiefdom among his three sons. His eldest and middle sons - Taro and Jiro - agree with his decision and promise to support him for his remaining days. The youngest son Saburo disagrees with all of them arguing that there is little likelihood the three brothers will remain united. Insulted by his son's brashness, the warlord banishes Saburo. As the warlord begins his retirement, he quickly realizes that his two eldest sons selfish and have no intention of keeping their promises. It leads to war and only banished Saburo can possibly save him.
Genre: Action, Drama
Director(s): Akira Kurosawa
Actors: Tatsuya Nakadai, Akira Terao, Jinpachi Nezu, Daisuke Ryû
Production: Rialto Pictures
  Won 1 Oscar. Another 28 wins & 21 nominations.
 
IMDB:
8.2
Metacritic:
96
Rotten Tomatoes:
96%
  Ran Movie Quotes »
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R
Year:
1985
162 min
1,156 Views

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21:04,805 -- 00:21:05,846

l banish you both!

228

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21:06,014 -- 00:21:07,223

Father!

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What misery!

230

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21:34,751 -- 00:21:37,336

What wilI you do, now?

231

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I grieve for Father, not myself.

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21:41,383 -- 00:21:44,385

The horror ahead of him...

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Tango, you're an idiot.

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Why?

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For defending me and being banished.

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Your pIace is with Father.

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He needs you.

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They're foIlowing us!

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Wait, son-in-law!

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Why do you run away?

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Son-in-law?

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Hear me out!

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You're in disgrace,

exiIed from your lands.

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Lord Ayabe and I

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witnessed the whole incident.

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You are an outcast,

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little more than a beggar.

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Forgive my rudeness.

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What I am trying to say...

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l can't find the words.

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The meaning is cIear.

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No Iord chooses a beggar

for his daughter.

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Of course not.

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No... Now hoId on!

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Lord Ayabe rejected the marriage.

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But on my way home,

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I got a thinking

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of your extraordinary conduct.

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l Iike the way you spoke up.

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You have character and courage.

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You'd make a fine son-in-Iaw.

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I retraced my steps,

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but you had gone.

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Does my offer interest you?

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How can I know?

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Then come stay with me

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while you think it's over.

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You too, Tango.

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You are honest and IoyaI.

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I can use you, wiIl you come?

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Thank you for your generosity

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but l cannot accept.

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Whatever disguise I must adopt,

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I shan't abandon the Great Lord.

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What's going on?

276

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Hidetora's concubines

are moving from the castIe.

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They bIock my lady's retinue.

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ScandaIous!

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I am now the mistress here!

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They must make way!

281

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My women kneeling to Taro's wife?

282

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Intolerable!

283

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Why do you say that?

284

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You gave him the castle keep.

285

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It's only natural.

286

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Gives away his house

Gives away his land

287

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His bounty earns him a new title

288

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Lord of the rice fields

289

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A scarecrow!

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CalI me a fool?

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No, the fooI is me

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for serving as butt

to your Iaughing-stock.

293

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But you're another

for losing your keep.

294

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You know, Kaede,

295

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the view is more pIeasant

296

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now that it is mine.

297

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As I recalI,

298

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a banner used to hang there.

299

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Yes. Father's banner.

300

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AIso his heImet and armour.

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Where are they?

302

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I gave them to Father's men.

303

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The armour doesn't matter.

304

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But the banner...

305

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My Lord,

306

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it beIongs with the head

of the house of Ichimonji.

307

00:
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But Father is keeping

his titIe and insignia.

308

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Without them, you are a shadow.

309

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What do you mean?

310

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He made it cIear

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that I am now in command.

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In that case,

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behave as if you are.

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You want the banner?

315

00:
28:54,315 -- 00:28:57,317

Ridiculous!

You take back what you give.

316

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lt is Lord Taro's order!

317

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See the Iord,

a gourd in the wind

318

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Swinging this way...

319

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Swinging that way...

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Spinning as the breeze blows

321

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So high up...

322

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DangIing holIow from the tower

323

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lsn't it fun?

324

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ViIlain! I'lI teach you!

325

00:
30:04,928 -- 00:30:08,138

See the Iord,

a gourd in the wind

326

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30:10,266 -- 00:30:12,392

Swinging this way...

327

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30:13,436 -- 00:30:15,729

Swinging that way...

328

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30:16,564 -- 00:30:19,525

Spinning as the breeze blows

329

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So high up...

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DangIing holIow from the tower

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What fun, what fun!

332

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It's Ogura.

333

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l have a message.

334

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Lord Taro is hoIding

a famiIy gathering

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to celebrate the transfer of power.

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He invites his honoured father.

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You too, Lord Ikoma.

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Your "family gathering" is onIy us?

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PIease, father-in-law,

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won't you sit down?

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l am to sit beIow you?

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Rate this script:5.0 / 2 votes

Akira Kurosawa

After training as a painter (he storyboards his films as full-scale paintings), Kurosawa entered the film industry in 1936 as an assistant director, eventually making his directorial debut with Sanshiro Sugata (1943). Within a few years, Kurosawa had achieved sufficient stature to allow him greater creative freedom. Drunken Angel (1948)--"Drunken Angel"--was the first film he made without extensive studio interference, and marked his first collaboration with Toshirô Mifune. In the coming decades, the two would make 16 movies together, and Mifune became as closely associated with Kurosawa's films as was John Wayne with the films of Kurosawa's idol, John Ford. After working in a wide range of genres, Kurosawa made his international breakthrough film Rashomon (1950) in 1950. It won the top prize at the Venice Film Festival, and first revealed the richness of Japanese cinema to the West. The next few years saw the low-key, touching Ikiru (1952) (Living), the epic Seven Samurai (1954), the barbaric, riveting Shakespeare adaptation Throne of Blood (1957), and a fun pair of samurai comedies Yojimbo (1961) and Sanjuro (1962). After a lean period in the late 1960s and early 1970s, though, Kurosawa attempted suicide. He survived, and made a small, personal, low-budget picture with Dodes'ka-den (1970), a larger-scale Russian co-production Dersu Uzala (1975) and, with the help of admirers Francis Ford Coppola and George Lucas, the samurai tale Kagemusha (1980), which Kurosawa described as a dry run for Ran (1985), an epic adaptation of Shakespeare's "King Lear." He continued to work into his eighties with the more personal Dreams (1990), Rhapsody in August (1991) and Maadadayo (1993). Kurosawa's films have always been more popular in the West than in his native Japan, where critics have viewed his adaptations of Western genres and authors (William Shakespeare, Fyodor Dostoevsky, Maxim Gorky and Evan Hunter) with suspicion - but he's revered by American and European film-makers, who remade Rashomon (1950) as The Outrage (1964), Seven Samurai (1954), as The Magnificent Seven (1960), Yojimbo (1961), as A Fistful of Dollars (1964) and The Hidden Fortress (1958), as Star Wars: Episode IV - A New Hope (1977). more…

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Submitted on August 05, 2018

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    Ran

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