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When discussing Japanese cinema, it is virtually impossible not to mention Akira Kurosawa, a.k.a. The Emperor. Kurosawa is a beloved name in international cinema and has been an inspiration in the arts for generations. His influence can be seen in one of the most recognizable American cinema works, Star Wars, as George Lucas modeled much of his concepts and visual style after Kurosawa's Samurai epic, The Hidden Fortress. Like many great artists, past and present, Kurosawa took much influence from Shakespeare's plays. His most famous example is his Samurai interpretation of Shakespeare's tragedy, The Scottish Play. Otherwise known as Macbeth. The story of power's corruption, deadly ambition, and guilt-induced madness.
Macbeth is one of Shakespeare's most popular plays, and for a good reason. It's a commentary on the abuse of power and the neverending cycle of violence in the name of ambition that continues to resonate with audiences even today. The hit television show, Breaking Bad, was inspired by Macbeth. However, what makes Kurosawa's take on the play so unique, at least to me, is how he interpreted cultural and philosophical aspects. Taking themes and ideas that were traditionally found in western culture and replacing them with ones found in his own, showcasing yet again Shakespeare's universality and providing a different perspective on a classical story.
Unlike the previous movies based on Shakespeare's plays I've talked about so far, this particular adaptation does not utilize the original text. It follows the same story and plots almost beat for beat, but the dialogue and general presentation are completely their own. And a large part of that has to do with the cultural influences of the director.
Shakespeare, as I've mentioned before, is entirely driven by his text. He wrote his plays with a bare stage in mind and heavily relied on messengers and secondary characters describing the scene's setting and mood. However, Akira Kurosawa drew much of his filmmaking style from Noh Theater: a Japanese theater style that utilizes exaggerated masks and elaborate body language to convey character, a scene's intended mood, and theme.
Kurosawa carried this style of theater into his films. Utilizing specific makeup and costume styles, along with carefully choreographed blocking and camera movement, replicating this ancient style of storytelling.
Along with his influence from Noh Theater, Kurosawa's signature also includes his use of movement with nature. Elements like wind and rain often play a significant role in his films to some degree. In Throne of Blood, he uses lots of dense fog as both a visual realization of the moral questions presented by the story and as a means of contributing to the more ghostly aspects of the original play.
The greatest difference between Shakespeare's original play and Kurosawa's take on it is his ending message regarding power and rulership. According to Shakespeare's philosophy, as evidenced by the original ending of the play and other external accounts, he favored the idea that the world is only set right when the right kind of people are in power. When an illegitimate king takes the throne, the world is set into chaos and can only be set right when the proper heir assumes power.
However, Kurosawa presents a different interpretation, one that is more akin to his own philosophy but is equally valid, if not more so. While Throne of Blood more or less retains the original ending, Kurosawa includes a traditional Japanese chant reflecting on the unchecked desire for power. Thereby submitting that it does not matter who takes the throne; it is the desire to get the throne in the first place that is itself destructive, both for the people and the ones in power—a very Buddhist perspective.
These are but a few of the many fascinating artistic aspects of Akira Kurosawa and his films. Of all the film versions of Macbeth I have seen so far, Throne of Blood is my favorite. It retains the vital elements of the original story while presenting it differently and strikingly. If you are a fan of Shakespeare, Japanese cinema, or at all curious about either, you owe it to yourself to check out this film.
Oh, and one more thing. The arrows at the end are REAL! You'll understand when you see it.
Ladies & gentlemen, I am TheNorm; thank you all for reading.
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