Throne of Blood (1957)

A re-telling of Shakespeare’s Macbeth set in feudal Japan, Throne of Blood visually captured the play’s self-seeking and treacherous atmosphere whereas its characterisation is somewhat left to be desired.

General Washizu and his comrade Miki come across an evil spirit who prophecies their rise with Washizu becoming Master of the North Castle and Miki will be Fort Commander. The evil spirit concludes that Washizu will eventually become Lord of Cobweb Castle, and that Miki’s son will succeed Washizu. Washizu and Miki are understandably puzzled by the evil spirits’ prophecy and initially disregards them. However Washizu with his wife Asaji become obsessed with the prophecy, leading to violent greed and malicious manipulation. Considering the heinous themes within Throne of Blood, one would expect the performances through characterisation to be riveting. Unfortunately the performances were mostly sub-par incorporating little depth to their characterisations. The performances felt as if they were being read from the script and using over-emphasised facial expressions simply because they had to. Even Toshiro Mifune’s (Washizu) performance was mostly underwhelming. His performance gave little to establish reasons for Washizu’s inevitable lust for greed and murderous desire. It is only when Washizu becomes haunted by those he’s killed that Mifune’s performance improved capturing Washizu’s mental derangement. Isuzu Yamada as Asaji gave the only consistent performance. Asaji’s subdued expressions and cold-hearted tone influencing Washizu personified her character which Yamada fully understood.

Throne of Blood‘s strength lied in its visual representation. The opening sequence contained ominous music which was unsettling emphasised through misty surroundings where Cobweb Castle once stood, creating a mysterious tone relevant for the themes which followed. The visual representation was emphasised in various well-choreographed military scenes of enthralling action along with Washizu’s climatic death scene directed with hallowing silence and long shots to encapsulate excruciating repercussions. Throne of Blood was a film that faired better in visually conveying its themes rather than personifying them through characters. However that is not to say Throne of Blood did not well adapted the origins of Shakespeare’s play and in that sense its visual representation was an acceptable substitute for flaws in characterisation.