A champion of illumination and experimental shading, Kurosawa brings his unerring eye for indelible images to Shakespeare in this 1957 adaptation of Macbeth. By changing the locale from Birnam Wood to 16th-century Japan, Kurosawa makes an oddball argument for the trans-historicity of Shakespeare's narrative; and indeed, stripped to the bare mechanics of the plot, the tale of cut-throat ambition rewarded (and thwarted) feels infinitely adaptable. What's lost in the translation, of course, is the force and beauty of the language--much of the script of Throne of Blood is maddeningly repetitive or superfluous--but striking visual images (including the surreal Cobweb Forest and some extremely artful gore) replace the sublime poetry. Toshiro Mifune is theatrically intense as Washizu, the samurai fated to betray his friend and master in exchange for the prestige of nobility; he portrays the ill-fated warrior with a passion bordering on violence, and a barely concealed conviviality. Somewhat less successful is Isuzu Yamada as Washizu's scheming wife; her poise and creepy impassivity, chilling at first, soon grows tedious. Kurosawa himself is the star of the show, though, and his masterful use of black-and-white contrast--not to mention his steady, dramatic hand with a battle scene--keeps the proceedings thrilling. A must-see for fans of Japanese cinema, as well as all you devotees of samurai weapons and armour. --Miles Bethany
Sequel to Kurosawa's own 'Yojimbo' in which the crafty samurai helps a young man and his fellow clansmen save his uncle who has been framed and imprisoned by a corrupt superintendent...
In early 20-century industrial Japan Yakuza member Kikuju flees to Tokyo with his master's proposed bride leaving more than a few corpses in his wake. Settling down to work with some corrupt building contractors Kikuju is unaware that an assassin from his old gang is in town looking for him... Seijun Suzuki's blistering run of off-the-wall subverted genre movies continued with this scathing look at the stand-off between Japanese big business and no less corrupt trade unions while throwing in some stunning cinematography characteristic camera moves and of course a tattoed bandit geisha femme fatale!
Throne of Blood (1957): Kurosawa's film career began in 1936 at the Photo Chemical Laboratories in Tokyo. His directorial debut in 1943 Judo Saga bore evidence of his economy of expression and marked his humanist approach. His Rashomon won the top prize at the Venice Film Festival in 1951 and this led to the 'discovery' of his other works and those of his mentors and peers notably Ozu and Mizoguchi. Kurosawa's transposition of Shakespeare's Ma
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