# Kumonosu jo (1957)

### reviewed by
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.antulov@st.tel.hr
    E-mail: drax@purger.com

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