The great Japanese director Akira Kurosawa was a visionary director who was able to take elements of different contrasting cultures and forge them into a common thread that succeeds in inspiring cinema goers throughout the world. His 1957 Masterpiece, “Throne of Blood” is a great example of his multi-cultural touch. The film is an Eastern Japanese version of William Shakespeare’s, tragic play, “Macbeth”. Macbeth was and still is a Western ICON of art with its sweltering passion and brutal violence that is meant to characterize Scottish culture and temperament. Yet “Throne of Blood”, is a Japanese film that is not only exquisitely eastern, but uses the poetic dancing style of Noh theatre. Noh is the most Japanese of art forms with its painted faces and quick dancing movements that crisscross together in their portrayals of grand larger than life stories interlaced with the eastern supernatural spirit. Who would have thought that Macbeth and Noh connect and embrace so brilliantly? Kurosawa gives us a larger than life tale of feudal betrayal and bloodshed within the confines of a smart and tense story-line that is borrowed directly from the Bard. Of course the film is in Japanese so this is not really Macbeth, but rather succeeds in casting great theatrical drama within its wide spectacular expanse. The story begins at the end of a successful military campaign waged on behalf of the local Lord Tzuzuki and led by Generals Miki (Isuzu Yamada) and Washizu (The brilliant Toshiro Mifune in the Macbeth role). Washizu is the hero of the campaign and while on their way to meet their Lord in order to accept a prize for their victory, they meet a spirit who foresees Washizu taking over the kingdom of the Lord and then eventually replaced by Miki’s Son. Laughing off this prophecy they continue on their way to meet their Lord. Their trip follows them through a mystic forest aptly titled “spider’s Web Forest. The Forest seems to exist in a constant state of fog and Kurosawa visualizes them appearing and disappearing through the fog, giving an impression of being trapped in a net or web. Their eventual arrival results in the coming to fruition of the spirit’s prophecy as Washizu is given control of the Lords most powerful fort moving him one step closer to ultimate power. His slow obsessive ambitious to take full control of the kingdom is enhanced by the prodding of his conniving wife. The film shows an interesting depiction of the strong influence woman had in the homes of their husbands in what was a male dominated world. The wife here is shown as the evil voice that drives our anti-hero into destruction and madness. Kurosawa delivers many iconic scenes of power. He filmed on location at a mountainous area of Japan and had the castle built on top of a stark stone cliff giving the proceedings an almost mystic effect. There are some grand battle scenes that impress in their raw violence as the camera pulls us right into the carnage as it happens. The theme of power corrupting nobility is given its full effect due to the powerhouse performance of Mifune. His body language changes as his status does and reflects his mindset. It is an exquisite performance as Wahizu slowly grows mad while becoming more powerful. The more powerful he gets the less people he can trust, until he is left alone and betrayed. The movie ends with one of the greatest death scenes of all time. It is a scene that has been oft repeated and revered from Bonnie and Clyde to The Godfather. A dance of death and a fitting ending to this fantastic film. Not to be missed.
1001 Movies before you die 