Throne of Blood
In adapting Macbeth for the screen, Akira Kurosawa chose a story whose elements of the supernatural, ambition, betrayal, and tragedy lend themselves as easily to feudal Japan as medieval Scotland. Toshiro Mifune gives an intense and moody performance as Washizu (the Macbeth of this story), a samurai who wins favor with his lord, Tsuzuki, for his role in putting down a revolt. Like Macbeth, he is seduced by a witch's prophesy and influenced by a mad, power-hungry wife to murder, an act which opens the door to his own ruin.
Kurosawa's black and white imagery is erie and expressionistic, with storms and mist enshrouding the story. Elements from other Shakespeare plays find their way in as well. Much as Hamlet uses the players to expose his uncle, so is Washizu similarly exposed by a Noh performer whounintentionallyreveals the warlord's true heart.
By not limiting himself to the actual text of the play, Kurosawa is free to emphasize aspects of the story somewhat differently from Shakespeare. The poisoning of Washizu's mind by his wife, Asaji, is given more time to develop, and with it, Asaji is defined as ultimately far more loathsome and treacherous a character than Lady Macbeth.
Curiously, Kurosawa de-emphasizes the role of Macduff (here named Noriyasu), and also omits the slaughter of his family. Nor is it he who defeats and kills Washizu. Instead, Washizu own troops turn on him, his archers striking him with hundreds of arrows.
Despite its alterations, Throne of Blood
remains true to the spirit of "the Scottish Play,"
and Kurosawa's unsurpassed gift for powerful visuals make this
film one the finest Shakespearean adaptations of all time.
Paul Andrew MacLean
© 1998 
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LadyJanet@RenaissanceMagazine.com