The intention of Throne of Blood

Japanese films are divided in two categories- the jidai-geki or period films and the gendai-mono or modern-story films- which generally carry the conception of crime, thriller and western cinema. The jidai for long lingered with romantics and used age old film making methods. Among the films that are originally jidai, but in gendai style, Throne of Blood is noteworthy!

Some legendary directors like KurosawaKobayashi and Mizoguchi took charge. Films like Hara Kiri, Ugestu, Seven Samurai, share the common attitude which first, tries to show history as it is and then, attempts to give the characters both individuality and a contemporary psychology. This intent is quite different from a standard jidai film. In Macbeth, Kurosawa saw a contemporary issue. He drew parallels between medivial Scotland and medivial Japan which illuminated the contemporary society. A masterstroke was played! Throne of Blood was born!

The hero in Macbeth is at the center of the philosophical discussion. His fault is neither ambition, nor pride. His failure lies in inability in realizing himself completely. He believes that his desire lies in something as conventional as power. Naturally, one murder leads to other, because this is the pattern of lust for power. However, the hero is also concerned with his limitations, negation and death. To justify his character completely, Kurowasa, for the first time, created a formal film– a film with no loose ends, extraordinary balance, unity, compactness, and an absolutely linear story-telling. The philosophy and intent of the film is as simple as it can get. Cause and effect is the only law here. Freedom does not exist at all!


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