All language subtitles for Classic.Movies.The.Story.Of.S01E05.1080p.WEB.h264-EDITH_track3_[eng]

One of the most breathtaking sites
in all of cinema:

the mass ranks of warriors
charging up the flanks of Mount Fuji.

Their brightly coloured banners
flattering in the wind,

armies subdivided
into primary colours:

red, blue and yellow.

Their 16th century Japanese armour
magnificent in every detail

as they storm a once mighty castle.

So, let's... let's talk
about Ran and Akira Kurosawa.

Well, what an amazing film.

I saw it again the other day
and I couldn't believe what I saw.

I mean... when I met him at Cannes,

I had an interview with him.
He didn't do too many interviews.

But I asked him about Ran,

and he said, "Well, I'm a
sentimentalist." And I said, "What?"

When you look at Ran,
it's hardly sentimental,

but he said, "Well, to me...

it's about the Gods, or God,

being very upset with the human race

because the human race
is intent on destroying itself,

and when you look at Ran,
everybody is destroyed."

A decade in the making
and finally released in 1985

when Kurosawa was an old man,
Ran is a staggering achievement,

at once a bleak report
on a world forsaken by God,

and an astonishing testament

to what one extraordinary artist
could do with the medium.

(SPEAKING JAPANESE)

INTERPRETER: I'm very pleased
to think that...

I'm understood in foreign countries.

And... it's a nice thing to know
that one country after another

reaches some ability
of understanding in
what I'm trying to say.

And I think film
has a very important role

in fostering
this sort of understanding.

One of the greatest directors
cinema has ever known,

Akira Kurosawa applied himself
to dramas, comedies, and thrillers,

but his reputation was founded
on the samurai epics

he made in the '50s and '60s.

Legendary titles
like Rashomon, Yojiimbo,

Hidden Fortress, and Seven Samurai.

Nicknamed the Emperor
for his physical stature,

his total command of the medium
and his uncompromising nature,

Akira had followed his beloved older
brother, Heigo, into filmmaking.

Heigo, a master narrator
of silent film,

encouraged his younger sibling
to read foreign literature

and watch foreign films and plays.

And it was Heigo who had taken
his brother to see the aftermath

of the Great Kanto earthquake
of 1923,

forbidding him from turning away
from the scattered corpses,

a brutal image
that would echo through his work,

and never more so than in Ran.

Akira Kurosawa is a phenomenally
interesting Japanese director

because in a way he encapsulates a
particular spirit and time in Japan

with his work, but as an artist,
he moves his work beyond that.

He was born the son of, basically,

a man who had
a long line of samurai,

part of a samurai clan, but who was
also quite modern in his thinking,

and he wanted his children
to watch Western films

and engage in Western culture.

Akira Kurosawa made films
in many genres.

He made comedies,
he made gangster thrillers,

he made social realist films,

but the ones, of course,
that we really remember him for

are his samurai movies.

The samurai movies -
Throne of Blood, Rashomon,

Sanjuro, Yojimbo, Hidden Fortress,

and, of course, Seven Samurai -
are canon.

They are sort of a canon
of samurai movies.

And what they do is
they establish a genre

and they establish
the kind of political

and also social and...

the characters
of the samurai for all time.

Unique amongst Japanese filmmakers,

Kurosawa found inspiration
in foreign literature and films.

He was keenly influenced
by the great Westerns of John Ford

and the work of DW Griffith
and Cecil B De Mille.

He loved the morally complex
novels of Dostoyevsky

and the plays of Brecht,
and he thrilled to the great scope

and dimension offered by Shakespeare.

He had transformed Macbeth

into the elemental samurai epic
Throne of Blood

and reconfigured Hamlet
as The Bad Sleep Well.

At the peak of his career,
Kurosawa's 15 glorious years,

from 1950 to 1965, he made 12 films.

From 1970 for the next 20 years,
he only made four,

and those films were
very difficult for him to make.

In 1975, he was backed
by the Soviet Union for Dersu Uzala,

a story of a Mongolian woodsman
helping a Russian Explorer.

Then he was helped by Francis Ford
Coppola and George Lucas,

who had persuaded 20th Century Fox
to back him for Kagemusha.

In 1975, also,
he began working on...

what he thought was his great story.

It was the story Ran, the film,
which was going to end his...

investigation
of the samurai tradition.

Often with his work
alongside Toshiro Mifune,

his amazing star actor who had
this great burly physicality to him,

they were lauded around the world.
But times did move on,

and the nickname
for Kurosawa was the Emperor.

He was sort of revered
in some corners,

but his films were
increasingly being seen

by the late 1960s, early 1970s
as a bit old fashioned.

Up to that point, up until 1970,

he'd only made films
in black and white,

and it was becoming
increasingly difficult for him

to secure funding to make his films,

which were often
slightly more expensive

than the Japanese film industry,
and the Japanese studios wanted
to pay for.

By his mid-seventies,
Kurosawa was forgotten man in Japan.

His great partnership with star
Toshiro Mifune was long since over.

His films had passed out of fashion,
much like the protagonist of Ran,

Kurosawa had begun to wonder
what his life amounted to.

Ran is Akira Kurosawa's
last great samurai masterpiece.

Not only is it an incredible epic,
amazingly visual movie,

but is it also a summation
of all of his work beforehand,

as well as his own life.

And at the same time, it reflects
back on his earlier samurai films

because it moves into a completely
different kind of ethos.

This is a film about an old man.

This is not a film
about a young samurai.

This is a man about...
who's been a warrior.

He's been a conqueror.
He is a warlord,

and he's surrounded by huge numbers
of samurai and armies,

and he's now reflecting back
on his achievements

and finding them, in a way,

giving him a sort of sense of guilt.

So this is Kurosawa not only
looking at his own work,

but he's also looking,
to a certain extent,

at his own life
and what he's achieved.

So I gather that Kurosawa
was having a hard time

getting financing
for his later films.

Oh, he had a very hard time.
It really made him miserable.

He also felt the public was not
on his side anymore.

The young people who went to the
cinema or watched television a lot,

they were out of tune
with these big medieval epics,

which didn't relate to them.

They wanted something different.

As for the film producers,

they didn't really want
to spend vast sums of money

on an old man
who's making great big epics,

which they were by no means certain
that the public would like.

So it was very difficult for him.

He'd just done Dodes'ka-den,

which was one of his...
working class films

about the working class people,

the poverty-stricken people
in Japan.

The trouble was
there weren't very many

and again,
the public didn't really like it.

So, he then embarked on Ran,
which was...

..well, I think it's a bit
of himself as well.Yes.

OK, it's Lear, of course it's Lear,

but it's also Kurosawa,

who had been rejected
after a lifetime of work

and worldwide praise...

..rejected by his own public.
That cut him very deeply.

The title Ran translates
to Chaos or Turmoil or Revolt.

The story famously follows the
contours of Shakespeare's King Lear,

as the ageing warlord, Hidetora,

chooses to divide his kingdom
amongst his three sons,

a decision that will reap
devastating consequences

as his land is engulfed by war.

It's extraordinary.

It's a portrait
of the world ablaze, isn't it?Yes.

A portrait of the world
that has destroyed itself...

..through this old man's
hopes and fears.

Extraordinary film.
Every time I see it...

..I think, goodness,
how can anybody go and watch this?

Because, you know, people want
cheerful films, adventures.

Are they going to like Ran? They
won't even understand it probably.

But yes, it has a primal power...
It has a primal power.

..you don't need the words, you know?
Yes, it is.

That's why I love the idea
that he's adapting, on a loose level,

he's adapting King Lear
without a single line of Shakespeare.

Yet it's still the play
in a lot of ways.Yes.

Well, he did
a very good Macbeth, too,

which was a totally different
Shakespeare.Throne of Blood, yes.

The setting is a Sengoku period
of the 15th and 16th centuries,

when Japan was riven by civil war.

The feudal system had collapsed

and samurai warlords fought
for control of Japan.

Ran is centred
on one such warlord, Hidetora,

who has committed
his share of atrocities.

Haunted by a dream
he chooses to abdicate and divide

his kingdom between his three sons,
Taro, Jiro, and Saburo.

So, Kurosawa was interested
in telling a story

about the rival feudal warlords

of the 15th and 16th century,

in the Sengoku period in Japan.

It was a sort of dissent into chaos,

a word which roughly
could be translated as Ran,

but he was interested
because he first read

a story of a real feudal warlord,

who was famous for having
three very good and loyal sons

that he could pass
and split up his kingdom between.

But when he read the story,
he thought...

what if the sons weren't so good?

They weren't in the fashion
of the filial piety

of traditional Japanese culture,

but if they were
extremely treacherous instead?

And so that was actually
the genesis for Ran,

rather than what people
often say, later on,

was simply just an adaptation,

for example,
of Shakespeare's King Lear.

But King Lear did come
onto the scene slightly later on,

as the film was being developed
before it went into production.

Kurosawa thought about King Lear
and about how well it applied

in terms of the themes
of a stubborn ageing warlord

who was foolishly banishing

those closest to him
if they offended his pride

and how, eventually,
this treachery would lead

to nearly everyone's doom.

You can see the influences
of many Western artists

in Kurosawa's films,

particularly Ran: John Ford,
DW Griffith, Cecil B De Mille.

He loved that big scale material

and the locations in which men
were placed almost in miniature.

I think that that gave rise to the
whole idea of having a landscape,

which was not just an idea, but
something that people moved through.

In spite of the fact
of what they could actually achieve.

Throne of Blood is clearly
a Japanese version of Macbeth,

an absolutely wonderful, sort of,
translation of Shakespeare

into Japanese samurai culture.
Marvelous.

The Bad Sleep Well
is something even more extreme;

that is the sort of
Yakuza version of Hamlet.

Both of them are very successful
in their own way, although
quite different.

Kurosawa was inspired by two
separate stories to create Ran.

The first was the story
of a Japanese nobleman

who was explaining to his sons
why the three sons needed to unite,

and he explained it with this arrow.
He broke a single arrow

and then showed them that three
arrows would be impossible to break.

That was the initial inciting
incident for Kurosawa.

His other influence was King Leer.

The story of a king at the end
of his life with three daughters

and two of those daughters
are turning against him,

disloyal, treacherous,
and one loves him,

but he can't see that
and he pushes her away.

So, Kurosawa blended
these stories together:

what would've happened
if the nobleman's sons had behaved

like the daughters of King Lear?

That two sons fought
against their father

and one son who was expelled
from the kingdom?

And that's the basis
of the story of Ran.

Now, we can also see
very powerful influences

from King Lear
in certain characters.

This is a story
of a traditional samurai lord,

but there are elements to this
which weren't accurate for the time.

So for instance,
no Japanese lord would have a jester

or a fool, for them that was just
not part of the Japanese tradition.

The nearest thing would've been
a page, but they wouldn't have had

the role of clown
or humorous character.

So he was very much leaning towards

Lear with sons
by the time he started shooting

and by the time
he started writing the characters.

The role of the fool from Lear
is played by a singer-songwriter,

known only as Peter,
an angelic figure

who refuses to leave
his master's side.

The character's
androgynous qualities

are seen as the sole antidote
to the violence.

And Kurosawa spoke
about it afterwards.

It was actually one of the first
roles he cast, simply called Peter.

He's quite androgynous

and is supposed
to be essentially there to entertain

the sort of 'better born'.

But he's able to say things that
the others wouldn't get away with,

because he's not bound
by the same social codes

and maybe
no one takes him as seriously.

If you notice,
he doesn't wear a sword,

so he's not a part
of the samurai class,

which means there's some leeway.

And Kurosawa puts words in his
mouth that I think stand very much

in the latter part of the film for
how Kurosawa feels about suffering

and how man is drawn to suffering

more than he is to joy or to peace.

(HORSE NEIGHS)

(HORSE NEIGHS, INDISTINCT COMMOTION)

(LOUDER COMMOTION, HORSE NEIGHS)

(HORSE NEIGHS)

Ran takes a very bleak view of the
world, in particular Japan's history.

This is a film as much
about the catastrophe of war

as it is about Hidetora's,
fragmenting psyche.

Kurosawa's fame was founded
on his use of black and white,

but his late films,
Kagemusha, and above all, Ran,

made full fulsome use of colour.

What is most startling
is the contrast

between the ashen mountain sides
or stone walls

and the brightly regaled armies.

In a way, it's perfect
for what he wanted to do.

Depressing as it is, you know?

I mean, the amount of people
who die in the film is phenomenal,

the traitorous nature of it

and there's this poor old man
who's lived.

This Lear has been violent
all his life, and been triumphant.

Now he's going to pass it
onto his sons, and what happens?

They quarrel with each other.
They quarrel with him.

The whole thing goes up in smoke.
What is he left with?

A life which is worthless.
Extraordinary.

He has spent over 50 years at war.

He says, "You know, I started
my conquest at the age of 17.

I'm now 53 and I'm getting tired."

In order to retire,
he decides to pass on responsibility

of his territory to his three sons.

His youngest son decides that
that's not such a good idea,

partly because he doesn't trust
his two elder brothers

and so he gets disenfranchised,
he gets actually sent away.

Hidetora will then take
his retinue of 300 samurai warriors

and basically stay at each
of his son's castles in turn.

This is his grand plan.

Of course, it goes horribly wrong
because the two sons that are left.

in order to be able to control this,
really don't want him.

They want to sort of get rid
of him and then control
their own destinies.

They don't want him
hanging around as well.

Within the fury, our eyes are drawn
to a figure in a white robe

staggering down the castle steps.

An old man driven to madness

by this vision of destruction
he has wrought.

Somehow, the arrows
and flames never touch him.

Ran was three years in production.

The making of the costumes
and the building of the sets

was enormously laborious tasks,

and then once everything was
in place, it took a year to shoot.

It was a vast epic in scale

for a number of reasons.
He was using real castles.

He built an entire castle
from nothing

on the slopes of Mount Fuji,

something which costs
at the time $1.6 million.

So in today's money,
that would be an enormous sum.

It was incredibly ambitious.

I always remember the scene
of the burning castle

when the old man staggers out. Of
course, they had to do it in one take

because the castle was burning.

What a lot of pressure
on the actor that must have been!

Of course, he's marvellous in it.
Yes.

The actors were really...

had to be completely disciplined.

Everything had to be right.

The light, the weather,
the costumes,

everything had to be right.

To have that number of horses
in the film,

they cost more than human beings,

especially when you have
to ship them over from America,

and even the little bowls
from which they eat

are absolutely perfect
for the period,

and made specially at great cost.

The costumes cost
an enormous amount.

So the film was
terribly expensive to make,

but what a film.

So originally Toshiro Mifune
was set to star

in Ran as Hidetora, the warlord.

But things changed between him
and Kurosawa over the years,

and instead Kurosawa
turned to another actor

who he had worked with in the past.

That actor was Tatsuya Nakadai,

who was 51 at the time of Ran,
though made up to look much older,

and he was already a big star,
often associated

to samurai films of that time.

And he had been either
a star or a co-star

in several other Kurosawa films.

So Nakadai had developed a good
working relationship with Kurosawa

in Kagemusha where he plays
this kind of dual role of a thief

pretending to be a feudal leader.

And he was really right
for this part

in a way that maybe Mifune
might not have been

because of his burly physicality
in his more action-orientated roles

that he had played
in the past for Kurosawa.

But this was a different style
and a different type of actor.

Nakadai was stage trained.

He had a slightly
more intellectual energy,

and he also had
a comedic side to him,

even if it wasn't overtly comedic.

It suited the theatricality
of what Kurosawa was doing with Ran

because it wasn't strict realism
that he was dealing in.

It was something more heightened.

Kurosawa turned to traditions
in Japanese performance,

like Noh theatre
for a lot of the work in Ran.

He had costume makers
from Noh theatre work

with the costume designs
to create the costumes.

They have a very
traditional feel to them.

He also had certain things that
he took from the performance style,

the makeup. So a lot of the makeup
resembles characters

from Noh and Kabuki theatre,
and also certain ways

of delivering gestures
is from that performance style.

So, if you like, he's paying tribute
to the long tradition

of Japanese performance art,
as someone who

the Japanese had sometimes derided
for being too Western.

This is him showing you
what happens if you truly fuse

the performance and the filmmaking
styles of both cultures.

This is very much...
possibly the most beautiful

fusion of the two in his career.

So Nakadai was made up to look
much older than he was at 51.

It's easy to forget,
he was a distinguished
looking gentleman under there,

but you have these thick eyebrows
and this long grey hair,

and of course
this Kabuki-like white face makeup,

which only becomes more self-evident

and becomes sort of exaggerated
as the film goes on,

until by the final scenes,
he's almost completely,

sort of, whiteface tinged
with grey.

Sort of looks like he's stained
by smoke and suffering

and he looks like a ghost.

So it has this incredible, almost
grotesque effect as it goes on.

Although we feel for him deeply,
there is something...

really striking about the use
of makeup in this film.

Another element in the film,
which is Lady Kaede.

Lady Kaede is a crucial figure
in this story.

She has been called The Lady Macbeth
of this particular film, Ran,

because she is the one
who engages in a plot.

What we don't know until sometime
in the course of the story,

is that this is a very,
very intricate plot of revenge,

not only to get rid of Hidetora,
but also his entire family.

Lady Kaede is this sort of
Lady Macbeth-esque character,

this viper-ish,
manipulative seductress,

the wife of the oldest son,

and she basically manipulates
and convinces her husband to usurp

his father's kingdom
and then eventually also seduces

her brother-in-law
in order to do her bidding.

And although she is, sort of...

an incarnation
of a whirlwind of evil,

in a sense,
she also has her reasons.

Her machinations are the things
that drive the story along.

We initially see her
as a very ambitious figure.

We think she's got her husband's
best interests at heart.

She wants him
to become more powerful.

Over the film, we gradually
understand that in fact,

the castle that they're living in,
the First Castle, there are
three castles,

imaginatively known as First Castle,
Second Castle, and Third Castle.

The First Castle,
the biggest and the most powerful,

was hers and her families, and
when it was taken by the overlord,

her father and brother were killed,
and her mother committed suicide
and she was forced into marriage.

So she does have motivations
for what she's doing,

but she is desperate
to bring down this family

and regain control of her castle,
to regain her family's First Castle.

So she's really manipulating
all of the brothers in a way.

The character is played
by an actress

who I don't think had worked
with Kurosawa before.

Mieko Harada, and she's really
a force of nature in this film.

Really quite frightening,
and she also has

this unusual cosmetic,
sort of, kabuki-like look to her,

which makes her
sort of seem like this beautiful,

terrifying doll in some scenes
capable of great cruelty.

Words fail me about Kurosawa,

because he doesn't fit
into any bracket, does he, really?

No.
Not with all his films.

He's bit beyond bracketing,
isn't he?He is.

But I do like to think of him as
the man who invented action cinema,

whether he knew he was doing
it or not, because the West...

I think once we'd had the samurai
films and right through to Ran,

I think the Western filmmakers were
saying, well, that's how you do it.

That's how you move things
in in front of a camera.Yes.

And also must remember that he
trained as a painter for some time.

He wanted to be a painter.

And it's very painterly,
Ran, isn't it?

You could stop it at any point
and you'd have an...

amazing painting, wouldn't you?
One after the other.

Yes. Phenomenal.
He had phenomenal control

of nearly every element of the
filmmaking process, within one film.

Absolutely.

(SPEAKS JAPANESE)

Ran only slowly gained
its status as a classic.

It did modestly well in Japan
and much better in the West.

Critics were united
in their fulsome praise.

On this scale, there was no one to
match Kurosawa's barbaric lyricism.

There were three more films to come,
quieter, elegiac pieces

such as Dreams
and Rhapsody In August.

But Ran stands as the capstone

on an astonishing unrepeatable
tradition of the Kurosawa Epic.

But the fact that
he was so disappointed

with the Japanese audiences,

and the fact that he was, oh,
75 or more when he made the film,

it's astonishing
that he could make such a huge,

brilliantly coloured,
amazing looking film

at that age, knowing full well, that
it probably wouldn't be received

very well
by the young people in Japan.

He's a Japanese director.
He wanted to appeal to his people.

He knew the traditions
of his people.

He knew about the samurai.
He really did.

He delved into the history

and yet... young people didn't...

give a damn
about him at one point,

but now these films
are being revived in Japan.

They always get
full houses, apparently.

Ran took over a year to shoot
as the director marshalled scenes

with over 1400 extras and 200 horses.

The backdrop had to match
the apocalyptic nature of the drama,

as well as the grassy planes
of the southern island Kyushu.

He filmed on the slopes of Mount Aso,

Japan's largest active volcano,

utilising the stunning
15th century castles

that still stood sentinel
on the planes.

Kurosawa marshalled the enormous
army of extras that he'd hired,

including local villagers
who had no acting training,

by insisting that
everyone remain in role,

essentially, behave
like soldiers all of the time.

So everyone was dressed in armour
and thought of themselves as
soldiers throughout the shoot,

during the battle sequences, and
during the period they were on set.

And as a result,
everything was disciplined
as if it was an actual army.

He turned to Ishiro Honda,

a colleague from his earlier days
who'd been a soldier for eight years

to marshal the armies
in the second battle sequence.

There are two big battle
sequences in this film.

The first is in Third Castle,

where the end of our warlord's
ambitions become apparent to him.

His retinue is entirely lost,
and he is reduced

to just one man alone
in the wilderness.

Then at the end,
his younger son comes to his aid,

comes to try to find him
and bring him home.

Of the two older brothers,
one is dead,

so the other is in charge
of their combined military forces.

There are two armies facing off
against each other,

the youngest and the older brother,

and then the youngest brother's
father-in-law turns up

with his own army on one hill
and a neighbouring warlord

turns up with his army on another
hill. So there are four armies

on this battlefield that have
to be arranged and marshalled,

and Honda has to oversee
this with his military training

because this is beyond the
intimate battle of the Third Castle.

This is something where you are
actually fielding for full armies.

There are horses, there are guns,

there are soldiers who have
to be precisely maneuvered around.

And so that's where he turned for
help, a real soldier, if you like.

I was fortunate enough to talk
to Akira Kurosawa

after seeing Ran at a film festival,

and... he showed me

several, actually several pieces
of the artwork

that he'd done for it about, maybe,
20 actually, he'd brought with him.

And I have to say,
they were breathtakingly beautiful.

I mean, very, very detailed.

This was a man who
not had been a painter,

but he actually had
a complete visual idea

of how the film would look.

I looked at a few of them

and I realised that
what I was looking at was the film.

I was looking at a frame of the
film, so they were almost identical

to my memory of the film,
which I'd only just seen.

So to actually go from that
to the film meant that...

Kurosawa was wholly in command

of his own mental image of
what he wanted to see on the screen.

With Ran, you have...

a director who has taken all
the combined decades of experience

of all the great films
that he had made prior

into a late career masterpiece,

and I think there's this great
telling thing about Kurosawa,

who I think could be
quite a self-lacerating character.

When he received, in 1990,
the Academy Award

for Lifetime Achievement
as a director,

he said that he was still learning
about cinema and he didn't feel
he deserved it,

he was still learning
everything about cinema,

and he was in his 80s at that point,

which I think is such
a generous and modest response

for a filmmaker of his calibre.

But with Ran,
there was something really great,

which is that people used
to ask him what his favourite

or his best film was in his career

and he always used to say
his stock answer was 'my next film.'

But after Ran in 1985,

people would ask
and he would say, it's Ran.

It is a hugely influential film, and
was from the moment it was released.

From the day that it was out,
really, people started
to steal from it.

So there was the film Excalibur,
which was made very shortly
afterwards,

which copies the battle sequences
very, very closely.

The films go on all the way through

to Game of Thrones recently,

copies the battle sequences
from Ran. It's sampled again

and again and again
from the moment it's released.

So, he's the poet who's honoured
in other lands, in a sense,

and it's seen as such
a masterpiece outside Japan,

and in Japan now it is recognised,
but at the time,

it perhaps... he wasn't given
the welcome home he was expecting.

It's a film that works
on so many levels.

It's not just about a man
who is... beyond redemption.

The thing about Hidetora is that

the guilt that he is now feeling...

gives him a sense that
he has to somehow find peace.

He has to find atonement,
and he cannot find it

because he's gone
too far down the line.

This is Kurosawa
at his most fatalistic.

This is a very,
very bleak philosophy,

that there is no sense
that Hidetora...

will actually find redemption,
even though there are
one or two characters

and one or two moments in the film

where there is a spark of hope,
there was a little spark of hope.

You think he will, or at least

there will be somebody
who will come up to save him.

He said he was a sentimentalist,

but I think he was deeply
humanistic, wasn't he really?Yeah.

In everything he did...

he felt very strongly about...

how the world was going and...

Always...

with one individual at the centre,

like the old boy in Ran, who ruined
his life, wrecked his life.

Somehow... every decision
he takes is wrong,

..and it's done
with the best motives at first.

An extraordinary film,
from an extraordinary director.

We won't see it like again,
that's for sure.Yeah, true.

(HORSE NEIGHS)

(HORSE NEIGHS)

(HORSE NEIGHS)

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