The first film version of William Shakespeare’s dark and bloody tale of Macbeth I remember seeing is Roman Polanski’s 1971 take on the story. Known for its dark brutality, this should come as little surprise, since it was the director’s first film after the brutal murder of his wife, actress Sharon Tate. Released in 1957, Akira Kurosawa’s Throne of Blood is regarded by many as the best adaption of the play.

After a long and bloody battle, the fearless samurai Washizu (Toshiro Mifune) and Miki (Akira Kubo are making their way to Lord Tsuzuki’s castle. In a dark forest, they meet an evil spirit masked as an elderly woman (Chieko Naniwa). The spirit prophesizes that Washizu will become commander of the North Garrison and then the Sovereign of Spider’s Web Castle; Miki will become commander of the First Fortress. She also says that Miki’s son will take over Spider’s Web Castle.

Arriving at the Forest Castle, Washizu and Miki are granted the predicted honors. Soon after, Washizu’s wife Asaji (Isuzu Yamada) realizes that her husband’s position is at risk—because if Lord Tsuzuki learns about the prophecy he will immediately order his death—and urges him to  kill Tsuzuki. Disturbed by his wife’s suggestion, Washizu finds himself racked with jealousy and suspicion. Slaying his lord, Washizu brings about the prophecy, but the atmosphere is one of unease. The tension leads to acts of treachery that eventually brings about Washizu’s inevitable downfall.

An adaptation of Macbeth heavily reliant on atmosphere, Kurosawa’s work is both extraordinary. Unusual compared to his other work at the time, Kurosawa interpreted Macbeth as a fatalistic play that exists in a world where people’s choices are illusionary. As such, interior scenes are performed in the style of the Japanese Noh Theater, a spare approach that predates Kabuki. Kurosawa complements the style by shooting the rest of the film in stark areas and bare rooms. There are also few close-ups, which keeps everything moving.

Kurosawa’s script is tight, building on the visual elements. Things begin and end at castle of the Spider’s Web Forest. The castle’s labyrinthine quality sends the experienced samurai’s in circles. There’s a repetition to things that adds to the overall tension. The final scene—where Washizu is assaulted by scores of arrows—is a remarkable work of choreography and editing is one of the most unforgettable scenes in film history. Kurosawa actually used real arrows! Throne of Blood is a wonderful example of the quest for power can ruin an otherwise great man.

Featuring a new, restored 2K digital film transfer, Throne of Blood looks wonderful. While there are some slight print issues—fading is an occasional occurrence—contrast is well defined and the image is surprisingly detailed. Depth is also evident throughout. The heavy use of fog in the film adds a rather mysterious quality to the proceedings.

As noted in the accompanying booklet, the original negative no longer exists, so use of the fine-grain master positive required extensive removal of dirt, scratches and other unwelcome artifacts. The result is another impressive transfer from Criterion.

The Japanese LPCM 1.0 mono track is very impressive given its age. When compared to Criterion’s 2003 DVD release, the audio improvements are obvious. Depth is markedly better, there are no spikes in dialogue, and Masaru Sato’s score sounds so fresh, having been given the lossless treatment. The many solos are particularly vibrant.

English subtitles are available.

The following extras are included:

  • Audio Commentary featuring Japanese Film Expert Michael Jeck: Originally recorded for the 2003 DVD, Jeck discusses all aspects of the film, from the production, to set design, to cast and crew. He also offers up quite a few interesting anecdotes.
  • Akira Kurosawa: It is Wonderful to Create (HD, 22:44) A documentary about the making of Throne of Blood is part of the Toho Masterworks series Akira Kurosawa: It is Wonderful to Create. It features archival interviews with the legendary Japanese director, production designer Yoshiro Muraki, Noh performer Mitsuhiro Honda (from the Konparu School), and actress Isuzu Yamada (Asaji) among others.
  • Two Subtitle Options: Two English subtitle translation options have been created, one by Japanese film-translator Linda Hoaglund and another by Kurosawa expert Donald Richie.
  • Trailer (HD, 3:45) Original Japanese trailer.
  • Booklet: An illustrated booklet featuring an essay by film historian Stephen Prince and notes on the subtitling by Linda Hoaglund and Donald Richie.
  • Standard DVD of the film.