'Ran,' the greatest battle sequence ever created by Akira Kurosawa, executes its greatest battle sequence without a word of dialogue

'Ran,' the greatest battle sequence ever created by Akira Kurosawa, executes its greatest battle seq ...

Ran, the filmmaker who directed his final film, makes it apparent that viewers are witnessing something as vast as you could imagine. Despite Ran's greatness and masterfulness, Kurosawa can convey the whole picture of a world that has gone mad without ever using a single word.

Ichimonji Hidetora (Tatsuya Nakadai) is the focal point of this conflict. Hidetora is betrayed by his children and exiled, leaving no place left to live other than the deserted Third Castle, which serves as the backdrop for a decisive battle. Taro (Akira Terao) and Jiro (Jinpachi Nezu), two of Hidetora's three children, have assembled their forces to defeat Hi

After the battle has reached its conclusion and all hope has officially disappeared, Kurosawa allows Toru Takemitsu's score to take center stage and lead viewers through one of the most essential scenes in Ran. Throughout this scene, we do see many of the fighters on both sides of the conflict, but they usually only see them when they have been eliminated.

The men with multiple arrows protruding from their bodies make their final steps on this planet, while another dying man clutches the bloody stump where his hand used to be. It's all about how Men seem to prefer suffering more than peace.

Kurosawa is highlighting the ineluctability of human beings by removing their individual identities from complex organisms. They do not get to see them speak in ways that would differentiate them from one another. All of their idiosyncratic abilities are intentionally stripped away except for the specific ways they died on the front lines.

Nakadi's physical performance is allowed to excel by restraining things on-screen to be completely silent. Fiery arrows sway into the walls behind him, yet he just sits there, contemplating how far he has fallen and how his children have betrayed him. It's clear to see how mentally broken he's become.

The hollow tormented facial expression of Nakadi conveys this terrible state of disbelief in an elegant manner. It's impossible to watch Nakadi's restrained performance here without feeling a chill.

Plus, even on a basic level, eliminating dialogue allows the battle to serve extra apparently as a turning point for Nakadi. He will no longer be a man who once promised to split his land for his three children on a sunny luscious hillside. He will now be a man who scampers away from those who try to help him. This is why we choose to make this the sole major dialogue-free sequence in the entire movie.

The way the lack of dialogue enhances Nakadis' performance is indicative of how this whole sequence enhances Ran's powerfully dark world. But stripping away dialogue makes this illusion even more apparent.

When Taro is shot, the significance of this bold part of Ran is revealed. This momentousness underscores how devastating and devastating this event is. Not only does it increase Jiro's strength, but it also demonstrates how widespread war's horrors are.

Ran is a wonderful achievement in filmmaking. As his last epic, it is a swan song for Akira Kurosawa that shows how adept he is at delivering compelling cinema. However, this dialogue-free battle sequence stands out as a fantastic example of Ran's thoughtful creative tendencies.