Throne of Blood Analysis

In the Japanese adaptation of Macbeth, Throne of Blood develops an almost eccentric take on the Shakespearian play. Adapted to fit Japanese culture, I found it interesting how Kurosawa decided to focus on loyalty. As some people have already stated, loyalty is placed as a higher priority in Japanese culture then it is in American, and by honing in on this, Kurosawa magnifies the betrayal of Washizu to Mizi. In this adaptation, Washizu appeared to have a much more compassionate, genuine, and kindred spirit compared to Macbeth in Goold’s version. One particular scene that struck me was right after Banquo and Washizu encountered the evil spirit and conversed on the field before they went back to the castle. As they began to laugh about imagining the prophecies of the “witch” coming true, it created a lighter atmosphere then in Goold’s version where Macbeth was already displaying his lust for power and trying (but failing) to deny his inner thoughts already geared towards conquering his destined throne. Also, as Mizi and Washizu walk up the aisle towards the king to be crowned the new commanders of Fort One and the castle (I can’t remember the name), their equal stride as they walked side by side to meet the king, and their equal pace in other scenes, again displayed the value of loyalty and respect that the Japanese have for one another. Even as Washizu is let back into the castle, Miki still remains right next to him as they ride their horses in. This emphasis on loyalty, and the regard for other persons, augments Washizu’s betrayal and creates a more intricate story of how he ends up turning on his fellow warrior. Although clearly different from the original Macbeth, Throne of Blood is a stellar film, and a quality adaptation, fit to embody the culture it represents.