Amazon.com essential video: A champion of illumination and experimental shading, Kurosawa brings his unerring eye for indelible images to Shakespeare in this 1957 adaptation of Macbeth. By changing the locale from Birnam Wood to 16th-century Japan, Kurosawa makes an oddball argument for the trans-historicity of Shakespeare's narrative; and indeed, stripped to the bare mechanics of the plot, the tale of cutthroat ambition rewarded (and thwarted) feels infinitely adaptable. What's lost in the translation, of course, is the force and beauty of the language--much of the script of Throne of Blood is maddeningly repetitive or superfluous--but striking visual images (including the surreal Cobweb Forest and some extremely artful gore) replace the sublime poetry. Toshiro Mifune is theatrically intense as Washizu, the samurai fated to betray his friend and master in exchange for the prestige of nobility; he portrays the ill-fated warrior with a passion bordering on violence, and a barely concealed conviviality. Somewhat less successful is Isuzu Yamada as Washizu's scheming wife; her poise and creepy impassivity, chilling at first, soon grows tedious. Kurosawa himself is the star of the show, though, and his masterful use of black-and-white contrast-- not to mention his steady, dramatic hand with a battle scene--keeps the proceedings thrilling. A must-see for fans of Japanese cinema, as well as all you devotees of samurai weapons and armor. --Miles Bethany
Good Akira Kurosawa's black and white 1957 film Throne of Blood (Kumonosu Jô- literally Spider-Web's Castle) is a very good film, but not quite up there with the best of his films, like Seven Samurai, Ikiru, nor The Bad Sleep Well, despite its vaunted adaptation from Shakespeare's Macbeth. That said, the hour and forty nine minute long film, written by Kurosawa, Shinobu Hashimoto, and Ryuzo Kikushima, features one of the best performances by its star, longtime Kurosawa leading man Toshirô Mifune as Taketori Washizu, the warrior who has the Macbeth role. Yet, in watching this film, I have come to the conclusion that while there is a minor influence from Macbeth, it is in no way merely a Japanized version of the Bard's play. There are just too many significant differences, as well as the clear power and influence of the Noh Theater on this film, which is absent from other historical Kurosawa classics, period films called jidai-geki. First off is the notion of determinism. In Macbeth, all the main characters have free will- they are just corrupt from the get go, whereas in this film the main actors either are fated, or- more likely, buy into the idea of fate so strongly that they live out self-fulfilling prophecies. This Orientalist determinism is at great odds with Western ideas of individual free will. It manifests itself in the fact that the minor characters in the film- despite whining about their superiors' flaws, are more or less apparatchiks, whereas the lesser characters in Macbeth are all strong willed, for better or worse. Also, the film is not only about the personal doom that we know awaits Washizu, but that which awaits his whole class of samurai warriors just a few centuries after this film is set- likely the 13 or 1400s, due to the absence of guns. Thus there is a sense of cultural apocalypse that looms- note the beginning and ending choral sequences, straight out of Noh- as well as Greek drama, and set on the steaming and otherworldly and post-Apocalyptic slopes of Fujiyama, whereas the play is more focused on individuals with internal rot, not their whole society. After all, the Great Lord Tsuzuki (Takamaru Sasaki). whom Washizu murders, was himself the murderer of the Great Lord before him, unlike King Duncan in Macbeth. The framing device lends the whole film a very Ozymandian feel. However, anyone who was entranced by the recent meager Lord Of The Rings trilogy should watch this film, for it defeats that whole series as easily as a samurai kills a foe with one stroke of his sword. Whereas it is more primal and simple a tale than Seven Samurai, it is far more interesting than the usual drama that Hollywood spews. Throne Of Blood may not be a masterpiece, but it is a piece by a master, and as such, it deserves an audience- preferably one with the intellect and ability to discern the difference between an adaptation and a derivation. Whether or not you feel it is a treatise on free will's failures vs. determinism's folly, and what side you come down on, will reveal much about yourself, and such disclosures are what all art strives to do, for after communication, revelation is one of art's greatest qualities. Lo!
Bloodshed & Treachery - Sengoku Period Aptly Portrayed Kurosawa's epic Throne of Blood deftly captures both the spirit of Shakespeare's Macbeth and the Age of the Warring States (Sengoku) of Japan.
For students of Japanese history, Throne of Blood is great film to check out to understand the spirit of the Sengoku Period (Age of Warring States). Though the story and characters are fictional, the motives are real and very similar events depicted in the film occurred often throughout that period.
The Sengoku Period from the late 15th century to the beginning of the 17th century is the perfect setting for a medival Japanese retelling of Macbeth. It was a time of relentless warfare between small provinces that were kingdoms in their own right. It was also a time of treachery and betrayal - the low overthrowing the high. A number of houses were toppled from within by their own deputies.
In fact, Kurosawa's retelling of Macbeth is actually more truthful in both reality and essence in this regard than Shakespeare. The real Macbeth was not the bloodthristy ambitious tyrant portrayed by Shakespeare whereas Kurosawa's characters while fictional themselves aptly represent the bloody and treacherous reality of the times.
Classic Kurosawa Throne of Blood is a study of a warlord (played by Toshiro Mifune) led by fate in form of a prophesy, straight to his doom. Is it the prophesy or the characters lack of trust in each other that leads them to their doom? The film has a supernatural element: a spirit who, early in the movie, utters a prophesy. This is not a realistic movie depicting 16th century Japan, but rather a dark fairy tale. The acting and the stage sets are terrific, and the film can easily be watched again. This DVD is up to Criterions usual standards. The picture is awesome (I watched it on a projector) with sharp details of armor pieces and foggy landscapes rendered beautiful. Especially for a movie 47 years old. Also there are two different subtitles, the new one is considered more difficult. I watched it with the new one and while some sentences seemed a little strange, there are no difficulties understanding what is going on.
Blood Will Have Blood Another Kurosawa masterpiece. Kurosawa directed four masterpieces in the 1950's: Throne of Blood, Ikiru, Rashomon & Seven Samurai. Throne of Blood is the master director's loose interpretation of MacBeth. Shakespeare's themes of ambition, betrayal, & regicide are brought to Japan's feudal 14th century as a Kurosawan noh play.
Kurosawa brilliantly combines innovative and distinctive narrative and camera techniques with classic noh elements such as noh masks, exaggerated body movements and speech, flute and drums, unadorned sets, elaborate costumes and ghosts. Toshiro Mifune is, as always, a perfect contrast to Kurosawa's meticulous storytelling. Mifune had a leave-nothing-in-the-dressing room approach to acting and the effect is fascinating and electrifying as he hurls toward his fate at the behest of his evil, scheming wife. Isuzu Yamada is perfectly creepy as she wears her heavily made up face as a series of noh masks that shield the madness of her intentions. She has little trouble convincing her husband to exercise his barely hidden ambition. His fate is little more than treachery given chance to flower.
The dense choking forest, the squat ominous castles, the swirling mists, the ominous ghosts and the grim mortal struggles for power convey an era of constant turmoil in a time of spirits. Life is grim and violence rules the land. Power is bought and lost by the sword. Great warrior leaders locked in never-ending battles down through the generations. Kurosawa wisely does not comfort us with a happy ending. Instead, we are witness to a bloody end to a deed drenched in blood in one of the most striking and exciting climatic scenes ever filmed.
Heavy is the head that wears the crown Shakespeare reimagined with samurai steel. Kurosawa takes a stab at Macbeth, and the translation is bloody brilliant. All the universal themes are still intact--ambition, selfishness, guilt, fear, despair...and of course betrayal. Here's a brief summary--a ghostly spirit predicts that a couple of brave warriors will rise into power. This prophecy becomes reality, but with this power comes great responsibility. Everything soon goes spiraling out of control. The acting is tremendous--Toshiro Mifune absolutely shines as the neurotic ruler. Kurosawa once again presents some bleak and striking images that will engulf you in the period. Really the only weakness of Throne of Blood is its inevitable comparisons to Kurosawa's other masterpieces. It's nearly impossible for any film to match the visual splendour of Ran or Kagemusha. Plus this film seems overshadowed by the gritty realism of Seven Samurai or Yojimbo. Akira set the bar so high, it's difficult to match his other work. 4.5 stars.
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