Retrospective: Throne of Blood (1957)
Dragan Antulov
KUMONOSU JO
(COBWEB CASTLE)
(THRONE OF BLOOD)
A Film Review
Copyright Dragan Antulov 2001
Apart from being the greatest Japanese film director of all
times, Akira Kurosawa received great deal of respect for his
effort to bridge cultural gaps between Japan and West in his
films. Due to the popularity of Kurosawa's "jidai-geki"
1950s and 1960s classics Japanese culture became part of
global pop culture and many Western artists began seeking
inspiration for their work in Japanese or Oriental motives
(George Lucas finding inspiration for STAR WARS in HIDDEN
FORTRESS is the best known example). However, Kurosawa
didn't just popularise Japanese culture for the outside
world - he took cultural exchange more seriously and many of
his best- known works feature distinctively Western themes
in Japanese setting. One of such example is with Shakespeare
plays being set in medieval Japan. Kurosawa made two of such
films in two different phases of his career. KUMONOSU JO,
known either as COBWEB CASTLE or THRONE OF BLOOD, was made
in 1957 and its script was based on Shakespeare's MACBETH.
The plot begins with rebellion against Kuniharu Tsuzuki
(played by Takamaru Sasaki), powerful warlord and master of
unapproachable Cobweb Castle. When all seems lost, Tsuzuki
is saved by the bravery of his two top lieutenants and best
friends - Taketori Washizu (played by Toshiro Mifune) and
Yoshiaki Miki (played by Minoru Chiaki). Before they are
arrive into Tsuzuki's castle to receive reward for their
deeds, they must pass through Cobweb Forest and there they
stumble onto mysterious witch (played by Chieko Naniwa). She
foretells their future - both Washizu and Miki's son will
become new masters of Tsuzuki's castle. Washizu is sceptical
at first, but when the prophecy starts to unravel he becomes
restless and nervous, not knowing how to reconcile his
loyalty and growing ambition. His wife Asajo (played by
Isuzu Yamada) begins to use this sentiment and gradually
leads Washizu towards treacherous murder of his master. As a
result, Washizu becomes new master of Cobweb Castle but he
is not at peace with himself, because the other part of the
prophecy - ascension of Miki's son Yoshiteru (played by
Akira Kubo) haven't been fulfilled yet. Washizu's growing
paranoia and desire to prevent the destiny would lead to
inevitable and bloody conflict with his best friend.
KUMONOSO JO has the misfortune of being put in the same
basket with other pieces of Kurosawa's opus, usually better
critically acclaimed or more popular than it. This film,
shot in black and white and in 1:33 aspect ratio, lacks the
splendour of Kurosawa's latter day samurai epics like
KAGEMUSHA and RAN; on the other hand, down-to-earth realism
and humour present in Kurosawa's most popular "jidai geki"
films like SEVEN SAMURAI and YOJIMBO. Taken out of the
context of Kurosawa's magnum opus, KUMONOSO JO is a fine
piece of filmmaking. Kurosawa knows how to use empty Mount
Fuji locations creates the atmosphere of doom and
hopelessness which is perfect for this Shakespearean
tragedy. Actors are also quite fine -Toshiro Mifune's
neurotic character is perfectly paired with Isuzu Yamada
whose face, covered in white make-up, hides any sign of
emotion, making her Japanese version of Lady Macbeth
creepier than most similar characters in history of cinema.
However, her creepyness can't be compared to Chieko Naniwa
in truly frightening performance as evil spirit/witch of
unidentifiable gender.
But despite all of that, all those who expect something in
the class of SEVEN SAMURAI would be a little bit
disappointed. For example, apart from Washizu and Asajo,
none of the other characters is fleshed out; great Takeshi
Shimura, who played such a great role in SEVEN SAMURAI, is
barely recognisable and appears for few brief moments.
Reason for that is perhaps in Kurosawa's desire to be
faithful to Shakespeare's original as much as possible; in
the process he failed to bring something new and original to
the text. Despite the new Japanese settings, this version of
MACBETH looks artificial and theatrical. Furthermore,
Kurosawa makes another mistake in prolonging certain scenes
up to the point when even the patience of his most loyal
fans get tested. Those fans, as well as the other viewers,
might in the end be rewarded with the extremely long, brutal
and unforgettable death scene that is the only truly
remarkable and recognisable moment of this film.
All in all, despite being technically a very good piece of
"jidai-geki" or Shakespeare adaptation on its own, KUMONOSO
JO is a slightly disappointing film that could be truly
enjoyed only by the most enthusiastic Kurosawa fans, able to
withstand Great Master even when he is not at his best.
RATING: 7/10 (+++)
Review written on May 6th 2001
Dragan Antulov a.k.a. Drax
Fido: 2:381/100
E-mail: dragan....@st.tel.hr
E-mail: dr...@purger.com
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