As with the play, the film tells the story of a warrior who assassinates his sovereign at the urging of his ambitious wife. Kurosawa was a fan of the play and intended to make his own adaptation for several years, delaying it after learning of Orson Welles' Macbeth (1948). Among his changes was the ending, which required archers to fire arrows around Mifune. The film was shot around Mount Fuji and Izu Peninsula.
Generals Miki and Washizu are samurai commanders and friends under Lord Tsuzuki, a local lord, who reigns in the castle of the Spider's Web Forest. After defeating the lord's enemies in battle, they return to Tsuzuki's castle. On their way through the thick forest surrounding the castle, they meet a spirit, who foretells their future. The spirit tells them that today Washizu will be named Lord of the Northern Garrison and Miki will become commander of the first fortress. She then foretells that Washizu eventually will become Lord of Spider's Web Castle, and finally she tells Miki that his son will become lord of the castle. When the two return to Tsuzuki's estate, he rewards them with exactly what the spirit had predicted. As Washizu discusses this with Asaji, his wife, she manipulates him into making the second part of the prophecy come true by murdering Tsuzuki when he visits.
Washizu kills Tsuzuki with the help of his wife, who gives drugged sake to the lord's guards, causing them to fall asleep. When Washizu returns in shock at his deed, Asaji grabs the bloody spear and puts it in the hands of one of the three unconscious guards. She then yells "murder" through the courtyard, and Washizu slays the guard before he has a chance to plead his innocence. Tsuzuki's vengeful son Kunimaru and Noriyasu, an advisor to Tsuzuki, both suspect Washizu as the traitor and try to warn Miki, who refuses to believe what they are saying about his friend. Under Asaji's influence, Washizu is unsure of Miki's loyalty, but chooses Miki's son as his heir because he and Asaji have no child of their own. Washizu plans to tell Miki and his son about his decision at a grand banquet. However, Asaji tells him that she is pregnant, which leaves him with a quandary concerning his heir; now Miki and his son have to be eliminated.
During the banquet, Washizu clearly is agitated by the non-appearance of Miki and his son, and drinks sake copiously. He loses his self-control when Miki's pale ghost suddenly appears. In a delusional panic, he reveals what has happened to Miki by exclaiming that he is willing to slay Miki for a second time, going so far as unsheathing his sword and striking over Miki's mat. Asaji, attempting to pick up the pieces of Washizu's blunder, tells the guests that he is only drunk and that they must retire for the evening. One of his men arrives and presents the severed head of Miki, and tells them that Miki's son escaped. Washizu is horrified by his own betrayal of his best friend, and kills the assassin.
Later, Washizu is distraught upon hearing that his child and heir is stillborn and so Miki's murder was unnecessary. In dire need of help with the impending battle with his foes, he returns to the forest to summon the spirit. She tells him that he will not be defeated in battle unless the very trees of Spider's Web Forest rise against the castle. Washizu believes this is impossible and becomes confident of his victory. Washizu knows he must kill all his enemies, so he tells his troops of the last prophecy, and they share his confidence. The next morning, Washizu is awakened by the screams of attendants. Striding into his wife's quarters, he finds Asaji in a semi-catatonic state, trying to wash clean the imaginary foul stench of blood from her hands, obviously distraught at her grave misdeeds. Distracted by the sound of his troops moving outside the room, he investigates, and he is told by a panicked soldier that the trees of Spider's Web Forest "have risen to attack us". The prophecy has come true, and Washizu is doomed.
As Washizu tries to get his troops to attack, they remain still. Disillusioned with his increasingly unstable leadership, the troops finally accuse Washizu of the murder of Tsuzuki. For his treachery, and to appease Miki's son and Noriyasu, they turn on their master and begin firing arrows at him. Washizu finally succumbs when one of the arrows leaves a mortal wound just as his enemies approach the castle gates. It is revealed that the attacking force is using trees cut during the previous night to disguise and protect themselves in their advance on the castle.
William Shakespeare's plays had been read in Japan since the Meiji Restoration in 1868,[8] though banned during World War II for not being Japanese.[9] Director Akira Kurosawa stated he had had an admiration for Shakespeare's Macbeth for a long time, and envisioned making a film based on it. He hoped to make one after his 1950 film Rashomon, but opted to wait when he learned Orson Welles was releasing a Macbeth film in 1948.[10]
Kurosawa believed that Scotland and Japan in the Middle Ages shared social problems and that these had lessons for the present day. Moreover, Macbeth could serve as a cautionary tale complementing his 1952 film Ikiru.[10]
The film combines Shakespeare's play with the Noh style of drama.[11] Kurosawa was an admirer of Noh, which he preferred over Kabuki. In particular, he wished to incorporate Noh-style body movements and set design.[12] Noh also makes use of masks, and the evil spirit is seen, in different parts of the film, wearing faces reminiscent of these masks, starting with yaseonna (old lady).[13] Noh often stresses the Buddhist doctrine of impermanence. This is connected to Washizu being denied salvation, with the chorus singing that his ghost is still in the world.[14] The film score's use of flute and drum are drawn from Noh.[15]
Originally, Kurosawa planned only to produce the film, and hand over the reins to another director. However, Toho, assessing the budget and seeing the film would be costly, insisted Kurosawa direct it.[16]
Filming
Kurosawa, cast and crew members on the set of Throne of Blood.
The castle exteriors were built and shot on Mount Fuji. The castle courtyard was constructed at Toho's Tamagawa studio, with volcanic soil brought from Fuji so that the ground matched. The interiors were shot in a smaller studio in Tokyo. The forest scenes were a combination of actual Fuji forest and studio shots in Tokyo. Washizu's mansion was shot in the Izu Peninsula.[17]
In Kurosawa's own words,
It was a very hard film to make. We decided that the main castle set had to be built on the slope of Mount Fuji, not because I wanted to show this mountain but because it has precisely the stunted landscape that I wanted. And it is usually foggy. I had decided that I wanted lots of fog for this film... Making the set was very difficult because we didn't have enough people and the location was so far from Tokyo. Fortunately, there was a U.S. Marine Corps base nearby, and they helped a great deal; also a whole MP battalion helped us out. We all worked very hard indeed, clearing the ground, building the set. Our labor on this steep fog-bound slope, I remember, absolutely exhausted us; we almost got sick.[17]
Production designer Yoshirō Muraki said the crew opted to employ the color black in the set walls, and a lot of armor, to complement the mist and fog effects. This design was based on ancient scrolls depicting Japanese castles.[16]
Washizu's death scene, in which his own archers turn upon him and shoot him with arrows, was in fact performed with real arrows, shot by knowledgeable and skilled archers. During filming, Mifune waved his arms, which was how the actor indicated his intended bodily direction. This was for his own safety in order to prevent the archers accidentally hitting him.[18]
Release
In Japan, the film was released by Toho on 15 January 1957. It played at 110 minutes and brought in more revenue than any other Toho film that year.[19]
In the United States, the film was distributed by Brandon Films at 105 minutes and opened on 22 November 1961.[19] In Region A, The Criterion Collection released the film on Blu-ray in 2014, having released a DVD version 10 years before.[20]
Reception
Critical reception
In 1961, the Time review praised Kurosawa and the film as "a visual descent into the hell of greed and superstition".[21] Writing for The New York Times, Bosley Crowther called the idea of Shakespeare in Japanese "amusing," and complimented the cinematography.[22] Most critics stated it was the visuals that filled the gap left by the removal of Shakespeare's poetry.[23] U.K. directors Geoffrey Reeve and Peter Brook considered the film to be a masterpiece, but denied it was a Shakespeare film because of the language.[24] Author Donald Richie praised the film as "a marvel because it is made of so little: fog, wind, trees, mist".[15]
The film has received praise from literary critics despite the many liberties it takes with the original play. The American literary critic Harold Bloom judged it "the most successful film version of Macbeth".[25]Sylvan Barnet writes it captured Macbeth as a strong warrior, and that "Without worrying about fidelity to the original," Throne of Blood is "much more satisfactory" than most Shakespeare films.[26]
In his 2015 Movie Guide, Leonard Maltin gave the film four stars, calling it a "Graphic, powerful adaptation".[1]Throne of Blood currently holds a 95% "rating on Rotten Tomatoes, based on 43 reviews.[27]
Roman Polanski's 1971 film version of Macbeth has similarities to Throne of Blood, in shots of characters on twisted roads, set design, and music to identify locations and psychological conditions.[29] Toshiro Mifune's death scene was the source of inspiration for Piper Laurie’s death scene in the 1976 film Carrie,[30] in which knives are thrown at her, in this case by character Carrie White using her psychic powers. Kurosawa returned to adapting Shakespeare, choosing the play King Lear for his 1985 film Ran, and again moving the setting to feudal Japan.[31]
Akira Kurosawa was a Japanese film director and screenwriter, who directed 30 films in a career spanning 57 years. He is regarded as one of the most important and influential filmmakers in the history of cinema.
Macbeth is a tragedy by William Shakespeare; it is thought to have been first performed in 1606. It dramatises the damaging physical and psychological effects of political ambition on those who seek power for its own sake. Of all the plays that Shakespeare wrote during the reign of James I, who was patron of Shakespeare's acting company, Macbeth most clearly reflects the playwright's relationship with his sovereign. It was first published in the Folio of 1623, possibly from a prompt book, and is Shakespeare's shortest tragedy.
Ran is a 1985 action drama film directed, edited and co-written by Akira Kurosawa. The plot derives from William Shakespeare's King Lear and includes segments based on legends of the daimyō Mōri Motonari. The film stars Tatsuya Nakadai as Hidetora Ichimonji, an aging Sengoku-period warlord who decides to abdicate as ruler in favor of his three sons.
Toshiro Mifune was a Japanese actor who appeared in over 150 feature films. He is best known for his 16-film collaboration (1948–1965) with Akira Kurosawa in such works as Rashomon, Seven Samurai, The Hidden Fortress, Throne of Blood, and Yojimbo. He also portrayed Miyamoto Musashi in Hiroshi Inagaki's Samurai Trilogy and one earlier Inagaki film, Lord Toranaga in the NBC television miniseries Shōgun, and Admiral Isoroku Yamamoto in three different films.
Sanjuro is a 1962 black-and-white Japanese jidaigeki film directed by Akira Kurosawa and starring Toshiro Mifune. It is a sequel to Kurosawa's 1961 Yojimbo.
Macbeth is a 1971 historical drama film directed by Roman Polanski and co-written by Polanski and Kenneth Tynan. A film adaptation of William Shakespeare's tragedy of the same name, it tells the story of the Highland lord who becomes King of Scotland through treachery and murder.
Ishirō Honda, sometimes miscredited in foreign releases as "Inoshiro Honda", was a Japanese film director and screenwriter. He is best known for his kaiju and tokusatsu films, including several entries in the Godzilla franchise, but also worked extensively in the documentary and war genres earlier in his career. Honda was also a lifelong friend and collaborator of Akira Kurosawa, and worked with Kurosawa extensively during the 1980s and 1990s.
Ikiru is a 1952 Japanese drama film directed and co-written by Akira Kurosawa and starring Takashi Shimura. The film examines the struggles of a terminally ill Tokyo bureaucrat and his final quest for meaning. The screenplay was partly inspired by Leo Tolstoy's 1886 novella The Death of Ivan Ilyich.
Kamatari Fujiwara was a Japanese actor.
Stray Dog is a 1949 Japanese crime drama film noir directed by Akira Kurosawa and starring Toshiro Mifune and Takashi Shimura. It was Kurosawa's second film of 1949 produced by Film Art Association and released by Shintoho. It is also received as a detective movie that explores the mood of Japan during its painful postwar recovery. The film is considered a precursor to the contemporary police procedural and buddy cop film genres.
High and Low is a 1963 police procedural crime drama film directed by Akira Kurosawa, starring Toshiro Mifune, Tatsuya Nakadai and Kyōko Kagawa. The film is loosely based on the 1959 novel King's Ransom by Ed McBain.
Fleance is a figure in legendary Scottish history. He was depicted by 16th-century historians as the son of Lord Banquo, Thane of Lochaber, and the ancestor of the kings of the House of Stuart. Fleance is best known as a character in William Shakespeare's play Macbeth, in which the Three Witches prophesy that Banquo's descendants shall be kings. Some screen adaptations of the story expand on Fleance's role by showing his return to the kingdom after Macbeth's death.
The Lower Depths is a 1957 Japanese film directed by Akira Kurosawa, based on the play The Lower Depths by Maxim Gorky. The setting was changed for the film from late 19th-century Russia to Edo-period Japan.
After the Rain is a 1999 Japanese and French film. The story is based on the last script written by Akira Kurosawa and is directed by his former assistant director of 28 years, Takashi Koizumi. It was awarded a Japanese Academy Award in 1999. It was chosen as Best Film at the Japan Academy Prize ceremony.
Fumio Hayasaka was a Japanese composer of classical music and film scores.
William Shakespeare's Macbeth has been screened numerous times, featuring many of the biggest names from stage, film, and television.
Nomura Mansai II is a well known Kyogen stage actor, and film actor. He played Abe no seimei in Onmyoji and Onmyoji 2, an original work by Baku Yumemakura. He received the Best Actor prize at the Blue Ribbon Awards for his work in Onmyoji.
The legacy of filmmaking technique left by Akira Kurosawa for subsequent generations of filmmakers has been diverse and of international influence. The legacy of influence has ranged from working methods, influence on style, and selection and adaptation of themes in cinema. Kurosawa's working method was oriented toward extensive involvement with numerous aspects of film production. He was also an effective screenwriter who would work in close contact with his writers very early in the production cycle to ensure high quality in the scripts which would be used for his films.
The tragic play Macbeth by William Shakespeare have appeared and been reinterpreted in many forms of art and culture since it was written in the early 16th century.
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