No stage production could match Kurosawa's Birnam Wood, and, in his final framing of the hero -- a human hedgehog, stuck with arrows -- he conjures a tragedy not laden with grandeur but pierced, like a dream, by the absurd.
Throne Of Blood defeats categorisation. It remains a landmark of visual strength, permeated by a particularly Japanese sensibility, and is possibly the finest Shakespearean adaptation ever committed to the screen.
Akira Kurosawa's remarkable 1957 restaging of Macbeth in samurai and expressionist terms is unquestionably one of his finest works -- charged with energy, imagination, and, in keeping with the subject, sheer horror.
In fact, in the scene where Lady Asaji leaves a room and disappears into the darkness to get sake to make the guards drunk, the ominous rustling of her silk gown is as chilling as Lady Macbeth's lines.
Transplanted to medieval Japan, Kurosawa's brutal film is one of the best Shakesperean adaptations on screen, with a tour de force performance from Toshiro Mifune; it makes a fascinating double bill with the masterful Ran
It's visually ravishing, as you would expect, employing compositional tableaux from the Noh drama, high contrast photography, and extraordinary images of rain, galloping horses, the birds fleeing from the forest.