Trono de sangre

In my opinion 'Throne Of Blood' is almost as brilliant as Kurosawa's more celebrated 'Rashomon'. It's almost impossible to fault this brilliant adaptation of Shakespeare's 'Macbeth'. It's the most compelling version of the story I have seen, even better than Polanski's outstanding film of the early 1970s, which until seeing 'Throne Of Blood' was my favourite. Kurosawa is without doubt one of the greatest film makers of all time, and watching this movie is experiencing a master at work. Toshiro Mifune gives another brilliant performance and Isuzu Yamada, who plays his wife (the equivalent of the Lady Macbeth character) is absolutely chilling. The stylized acting combined with the superb cinematography gives this movie a frightening nightmarish feel, yet the characters are always human. This makes it a very powerful and haunting movie. I don't seem to see 'Throne Of Blood' mentioned a lot as one of Kurosawa's best, but I was incredibly impressed by it, and it comes with my highest recommendation. This is a brilliant movie and to call it a masterpiece is no exaggeration.

The Scottish Play gets a very Oriental makeover in this combination of samurai film and Noh theater from master filmmaker Akira Kurosawa. As a fan of both AK and Shakespeare I owed it to myself to give this a go, particularly as this play has drawn many gifted filmmakers over the years, always to interesting results.

If you know Kurosawa's Seven Samurai or Yojombo, your expectations going into Throne of Blood will probably let you down at first. The energy and visual flair are there, but expressed very differently: a suffocating formality and simmering rage replaces the vitality and dynamism of those other films. Lost in a thick, perpetual fog, Kurosawa's characters stumble around like broken puppets, heavily made up in Noh theater makeup that is at first hard to adjust to. it creates a useful distance, and underlines the power of the cruel hand of Fate, moving its victims across an apocalyptic landscape to a shockingly violent conclusion, one you would do well not to preview online before viewing the film.

Of his three adaptations - Ran being a masterful retelling of King Lear and The Bad Sleep Well using elements of Hamlet - this is the least accessible, but also the most visionary and unique. Oddly enough, it has similarities to Orson Welles' earlier adaptation made half a world away. Both films focus on tribal symbolism, are doused in fog and could never conceivably have had the same impact in color.

If you're interested in either Japanese cinema or Shakespeare, this should definitely be near the top of your list. As an entry-point to Kurosawa's catalog, you'd probably be better off with some less weighty fare.

Prestigious recounting marked by evocative production design , unflinching violence, intense drama and fatalistic atmosphere . It is an incredibly detailed vision in its own right . Akira Kurosawa masterful retelling of Macbeth transports the tale to Medieval Japan and the world of Samurai . As it is so steeped in Japanese style that it bears little resemblance to the Shakespearean Macbeth original . It deals with two war-hardened generals Washizu , Toshiro Mifune , and Miki , Chiaki, who after securing an important victory on the battlefield return home, they are to rewarded by their overlord after having put down a rebellion , as they are promoted because of their breathtaking victory. Then they come across a spirit-alike seer and tell them of their future . But they find themselves lost on woods on their way to their castle . Then they meet at a maze-like the mysterious old woman, a spirit-like who prophesizes that Mifune will soon rule , but his realm will be short . The witch is missed as crazy but her prophesies come to pass . The tough general egged by his scheming as well as ambitious wife lady Adaji , Yamada , works to fullfill a prophecy that he would become lord of spider's cobweb castle but with unexpected consequences . As Washizu takes action winding up to its inevitable result .

Big budgeted production , with lavish setting , lots of mood , impressive battles , sad atmosphere, though it holds limited likeness to the Shakespearean play , due to Samurai and Japan style . Classic tragedy is performed with a celebrated lead acting by Toshiro Mifune, he is the tragic lord as a demonic leader of a feudal society who is prophecised to have a short reign . Mifune gives an extraordinary acting as the angry lord who receives a prophecy by a witch , as he one day will become the main ruler, while Miki'son will someday govern as Great Lord as well . It contains stunning fight scenes , fine performances, overwhelming sets , intense drama in which all of the fire , ambition, and doom of the Shakespearean text come brilliantly to life.

The motion picture titled Cobweb castle or The castle of the Spider's web was stunningly directed by Akita Kurosawa . He was a master filmmaker who made a lot of masterpieces . He realized several films about Samurai world such as Ran , Kagemusha , Yojimbo , 7 Samurai , The hidden fortress , Rashomon . And influenced in American and European cinema . As Rashomon inspired The outrage by Martin Ritt , Basic by John MacTiernan and Yojimbo inspired Sergio Leone's For a fisful of dollars . And he directed other versions based on Dostowieski's The Idiot, and Ran based on Shakespeare's King Lear. Other notorious films by Kurosawa were Doden Kaden , High and low, Sanjuro, The bad sleep well, Red beard, Scandal , A quiet duel , On wonderful Sunday, The lower depths, I live in fear, Ikuru . With the help of admirers Francis Ford Coppola and George Lucas, he made the samurai tale Kagemusha (1980), which Kurosawa described as a dry run for Ran (1985), an epic adaptation of Shakespeare's "King Lear" . His last films were a larger-scale Russian co-production Dersu Uzala (1975) , it is an epic tale and nature ode as well as adventure in turn-of-the-century Siberia , the colorful : Dreams in which plays Martin Scorsese , and finally , Rapsody in August 1991 about Hiroshima atomic bombings .

Other films based on Macbeth are the followings : Macbeth 1948 starred and directed by Orson Welles with Daniel O'Herlihy , Roddy McDowall, Jeanette Nolan , Macbeth 1971 by Roman Polanski with John Finch, Francesca Annis , Martin Shaw, Macbeth 1976 with Eric Porter, Janet Suzman , Macbeth 1990 with Michael Jayston, Leigh Hunt , Macbeth 2015 by Justin Kurzel with Michael Fassbinder, Marion Cotillard, Paddy Considine , Sean Harris.

Washizu is a brave samurai who helps his lord to fight off a violent rebellion. Washizu and his friend Miki are riding through Cobweb Forest when a spirit appears to them and makes predictions which fire their ambitions. When Washizu explains this vision to his wife Asaji, she urges him to murder his lord and rule in his stead. Thus the tragedy begins.

Kurosawa's interpretation of Macbeth is visually fascinating. Swirling mist, colossal trees dripping with rain, rich black volcanic soil and bulky fortress architecture provide the imposing, dread-laden backdrop against which the humans move in superbly stylized patterns. The director chose to shoot the action on Mount Fuji precisely because of the volcanic soil - and even had truckloads brought to the studio for pickup shots.

Westerners unfamiliar with Noh are missing a huge part of the film's meaning. This thousand-year-old theatrical tradition corresponds broadly to our Elizabethan Tragedy, and Kurosawa shows how the two cultural strains, eastern and western, interlock and interact. The one illumines the other.

The Noh stage must have on it three pine branches and a symbolic Shinto temple-arch. In the film, shots are carefully composed to include tangles of branches in the foreground, and the vast entrance gate of Washizu's fortress serves for the temple arch. And yet Kurosawa is not including these details redundantly, for mere form's sake - the ubiquitous branches, framing the human action, remind us all the time of the forest nemesis awaiting Washizu. The arch is Washizu's interface with the world - open in the early stages, but gradually less so as the protagonist retreats into his own diseased inner self.

A Noh play features a "doer" (Shite) and a "companion" (Waku) who plays a subordinate role. Washizu and Asaji are the Shite and Waku respectively. Elements in the Noh include a battle-drama (we get one here) and a so-called "wig drama", in which a female character dominates the action. This is the central portion of the film, in the quiet of the fortress quarters, when Asaji ruthlessly manipulates her husband's ambition. Every Noh play has a ghost which appears to the Shite, and the spirit in the forest fulfils that function. Noh plays are never original works, in that (by a venerable convention) they are re-workings of ancient legends. Kurosawa follows tradition by quarrying his tale from Shakespeare's play.

There is no western term to describe the stylized striking of poses so important in Noh. Our word "dance" is a crude word which approximates to, but does not convey, the grace of the Japanese art-form. Asaji, alone with the blood-stain, gives us a glimpse of this delightful ritual.

Finally, Noh contains an aural richness almost totally absent from western tragedy - the complex rhythms of stamping and percussion which accompany the spoken word. In the film, the rhythmic patterns of horses' hooves on soil, and Washizu's bare feet on the boards of the banquet hall, are meant to reinforce the mood as they creep into our emotions by subliminal insistence.

Isuzu Yamada is terrific as Asaji. Her stillness absolutely oozes determination, contrasting strongly with her husband's hollow bluster.

It seems that Kurosawa cherished the concept of a Noh Macbeth for some years before committing it to celluloid. Apparently the project had to be scrapped in 1952 because Welles' Macbeth was nearing completion, and Kurosawa did not want the two films to suffer by being endlessly compared. This version, then, had to wait until 1957 to be realised.

The director is not afraid to add his own flourishes to the well-known story. We hear of the notorious traitor Fujimaki who disembowelled himself in a room of the fortress. The exact spot is now known as the Forbidden Room, a place of evil omen with its indelible bloodstain on the floor. It is a symbol which encapsulates the spirit of the film, interweaving the related themes of treachery, blood and guilt. In a brilliant transition, we are taken to a change of scene by the ripping down of a banner by galloping horsemen. Washizu at the pinnacle of his arrogance is filmed from below with severe foreshortening, conveying his vainglory more effectively than words ever could. The death scene, with its railing, hysterical protagonist and relentless volleys of arrows (their grouped shafts recalling the fateful forest) has enormous power and lives long in the viewer's memory.

As much as I praise Mifune, it may well be Yamada who stands out in Kurosawa's version of Macbeth. Her Lady Macbeth is one of the most terrifying things I have ever seen, a forerunner to Sadako. Dressed in Noh make-up, slow moving like the world's most effective predator, unblinking, she is, without a doubt, the true lady Macbeth. She turns Mifune towards murder, and, although she is seen going mad at the end, we do not see her die. The tragedy of the tale is heightened by the fact that we are told at the start what will happen. Every shot Kurosawa composes is memorable. The arrow through the neck, the thread spinning witch in the forest, Mifune turning his back on his master, all are haunting and unforgettable. This film cannot be praised enough, and although it is not a horror movie, it puts all modern horror movies to shame with its deadly atmosphere. Great Quotes: Asaji. ‘Every samurai longs to be the master of a castle'. 10 out of ten.