Toshiro-Mifune Movie Reviews

Another great Mifune Toshiro movie and another great film by Kobayashi. Beautifully filmed with some incredible Mifune sword work as a climax. I thought this was almost on the same level as Harakiri but not quite. But still it's a powerful movie well worth watching and owning. If you like black and white samurai movies you must add this on to your collection.

This movie asks several basic questions. Just how far should a samurai's loyalty to his master go? When does the master's demands become unreasonable? And what should a samurai do, when faced with a master's injustice? To modern-day Westerners, the answers may seem obvious. But in 18th century Japan, personal feelings took a backseat to duty.

In Samurai Rebellion, the main character Isaburo (played by Toshiro Mifune) must decide whether to challenge his overlord's decision to take back a former mistress who had become Isaburo's daughter-in-law. The title of the movie should give you a clue to Isaburo's decision. The big sword fight in this film is worth watching, simply because of the rage boiling inside Isaburo. This is swordplay that actually has passion, as opposed to the run-of-the-mill fighting you often see in lesser movies.

The film's director Masaki Kobayashi always made thoughtful dramas that often examined injustice in society. Those who like this movie should also check out two of his other masterpieces, Harakiri and The Human Condition (a nine-hour trilogy).

To be a samurai meant owing nearly absolute allegiance to the leader of one's clan, the daimyo. One often filmed story is about 47 loyal samurai committing harakiri en masse when their clan is disbanded. But what happens when the daimyo is unjust and plays with the lives of his loyal samurai?

In SAMURAI REBELLION, a young samurai is forced by his daimyo to marry a difficult mistress who had dared to manhandle him. Lady Ichi surprisingly turns out to be a jewel, and Yogoro, her new husband, grows to love her. When the daimyo changes his mind and has her kidnapped after several unsuccessful attempts to bully the family, Yogoro and his father Itaburo (Toshiro Mifune) singlehandedly take on the whole clan.

Before you know it, the blades are out of their sheathes, and bodies are falling all over the place. Particularly spectacular is a duel between Itaburo and his friend Tatewaki (played by the great Tatsuya Nakadai) in a windswept field of grass. Director Masaki Kobayashi (KWAIDAN, HARAKIRI) is at his best here; and numerous scenes are icily controlled and eerily beautiful as he guides his camera, breaking down sequences into abstract geometrical patterns.

I can't help remembering the song in the musical BANDWAGON which summarizes HAMLET as "The king and the prince meet / And everyone ends up mincemeat." As in HARAKIRI, there is a point to the mayhem here: The honor of a single family CAN outweigh the honor of the clan.

Toshiro Mifune stars as a brash yakuza gangster whose bellicose bullying of a meek, alcoholic local doctor lead to the discovery that he is actually dying of tuberculosis. Mifune's subsequent emotional transformation brings out the best in his ever-alluring acting style. Interesting early glimpse at the Japanses underworld, and another great film by director Akira Kurosawa.

The key to "Drunken Angel" is the two main characters, both flawed and somewhat nobel. Mifune is Matsunaga, a powerful gangster coming to grips with his own weakness. He has tuberculosis. Shimura plays Dr. Sanada, a good hearted doctor who's weakness for alcohol has left him in the lower depths of society. When Mifune arrives to be treated for a gunshot wound, Shimura sees something in him, and attempts to treat him for his TB.

This uneasy friendship, and the balance of the two characters as they get to know each other, is the strength of "Drunken Angel." Both performances are gripping. The plot involving a gang boss released from jail, allows the two characters to develop with each other. The direction is tight and controlled.

This is easily a masterpiece, from one of cinema's greatest directors.

Unsentimental, gripping morality tale of Japanese society after WW2. This is a simple story with the sharpness and balance of a finely crafted sword! Mifune and Shimura play off each other beautifully. Who is the drunken angel? We are told it is Shimura. But..... as Donald Richie says in his book on Kurosawa, Mifune is also an angel, though of a darker breed. Vivid images remain with you long after the film is over and respect for all those involved increases with each viewing!

I had a bit of a time deciding whether to give this set 5 or 4 stars, But these are key films in Kurosawa's career and deserve to be seen by completist.

1. "Drunken Angel" is cited as the first film in which Kurosawa expressed his real philiosphy of life. This film was very popular in Japan and re-released several tmes. Set immediately after the war, it is a neo-realist film on the hopes for a better society and how difficult it is to achieve. Takeshi Shimura plays the title character in one of his superlative performances. But this was Toshiro Mifune's first film for Kurosawa and his first lead role. Mifune gives a great, unbridled performance, that stunned Kurosawa, who didn't know how to control him and just let him go. Result: a one-of-kind performance and stardom. Mifune is often compared to John Wayne, but here and in "Fear" it is clear a more approriate analogy is the young Marlon Brando. The entire film is wonderfully made, but the ending in which Mifune tries to redeem himself and find meaning is almost transcedent. Incredible with a foretaste of things to come in masterworks such as "Ikiru" and "Roshamon."

2. "Scandal" is a weak film by Kurosawa's standards. An unbalanced attack on the press, it begins with Mifune as a rebellious artist suing a tabloid for slander. But halfway through the film lurches into the lawyer's film in a brilliant performance by Shimura, made even more impressive by the overweaning and, often, misconceived script. Here Kurosawa is struggling with the problem of "truth" and "reality," that the following year he solved in one of the great achievements in all film "Roshamon."

3. "I Live In Fear" originally titled "Record Of a Living Being" made 10 years after "Drunken Angel" and six after "Scandal", is the only film Kurosawa made dealing in detail with the consequences to the human psyche of nuculear bombs. It is a dark, tragic film, with an all but unrecognisable Mifune as the head of a family who wants to move himself and his family to a place they will be "safe" from the radiation from nuclear bomb testing in the Pacific. Beginning with an eccentric, but sensible plan, Mifune's character goes from healthly worried ending in insanity as his family fights his every suggestion. The final scene with Shimura, as the one person genuinely disturbed by questions raised, visiting an "insane" (or is he) Mifune in a mental hospital is the one of the most brilliant and disturbing scenes I know.

These films are records of Kurosawa's growth and problems in becoming one of the irreplacable giants of the century. More than worth a few looks.

"Red Beard" is a difficult film. Kurosawa had always sought to blend entertainment with social impact. Many of his films, such as "Yojimbo" and "The Seven Samurai" are so much fun to watch that the viewer rarely notes the message being told. With "Red Beard," the balance of message and entertainment shifts to a more heavy-handed social commentary. There is no mistaking what Kurosawa is saying.

However, "Red Beard" is a great film. Kurosawa's message is important, and worth hearing. The film's story flows like honey down an empty riverbed, and at about the same pace. Patience, the film tells us. Lessons are never learned without effort. Suffer for a while, and then you will understand. At over 3 hours in length, patience is necessary. There is little action to distract from the lesson.

Being the last collaboration of Kurosawa and Toshiro Mifune, "Red Beard" is a masterpiece of acting and direction. Mifune commands attention. His character Red Beard is a powerful physician, ruling both peasant and lord. The black and white film is powerful, making full use of the director's skill.

Those who only know Kurosawa's Samurai films will have a difficult time with "Red Beard," I think. However, patience. The lesson is there. Relax. Enjoy. Learn.

While the film is long, as many other reviewers have pointed out, it is not too long. It holds up, better than many contemporary American films with the same running time. This film wonderfully displays the silent grace and dignity Mifune plays so well. To see just how good he actually is, watch this, then watch Seven Samurai. His range is incredible. Every one of his characters is so different, all the way down to their walk. But, back to Red Beard. Like all Kurosawa films, there are some very memorable shots stylistically, and the acting is top-notch. There are many stories within the main plot, and they are all tied together very well. It isn't like a vignette piece. Each of the characters is related in one way or another. This is definitely an emotional tale, and made me feel for the characters and cheer for the compassion one human being can show to another. There isn't much humor here, like some of his other films, but it really isn't called for. If you come across the DVD from Mei-ah, do not buy it. The subtitles are horribly translated.

This is an Epic movie. It is the cure for the vanity of self indulgence. The love that is internalized will be returned.

I taped this off of TV when Turner Classic Movies had their month dedicated to Akira Kurosawa. I sat down, started up the tape, and didn't move until the movie was over. Even though I am still exploring Kurosawa's film, I think this is one of Kurosawa's greatest films. It has wonderful, richly created characters (the best being, of course, the lead character). The story and direction brilliantly walk hand in hand. A nameless ronin (played by Toshiro Mifune)stumbles into a border town and finds two feuding families and, seeing an opportunity, hires himself out as a yojimbo (bodyguard) to BOTH sides. Kurosawa always said that he was influened by American westerns (and vice versa), but it is really something you have to see for yourself, when he combies samurai films and westerns -- no easy feat! If you've never laid eyes on any of Kurosawa's movies, what better film to start with than this one? Incidentally, this was remade into "A Fistful of Dollars" with Clint Eastwood. Speaking of that, am I the only person who thinks that Toshiro Mifune and Clint Eastwood look alike? I think it's in their piercing eyes.

I loved HIDDEN FORTRESS. I have not been able to make it through SEVEN SAMURAI yet. I thought I'd try YOJIMBO ("The Bodyguard") and give Mr. Kurosawa another try. I'm glad I did. I was hooked as soon as I saw the dog trotting through town with a severed hand in his mouth. Kurosawa has a wonderful sense of humor and this movie walks the line between action and comedy very well.

The story is simple: A samurai-for-hire comes to town and plays two battling factions against each other. He can be bought for rice or saki. Things get a little interesting when an Official makes a visit to make sure everything is running well.

Toshiro Mifune plays the "man with no name" samurai. He is an amazing actor. I think of him as the Harrison Ford of Japan. He plays the samurai as a gruff, nose-picking, shoulder-twitching mercenary.

I am also impressed with Kurosawa's story-telling. I know Kurosawa only from George Lucas -- I know that Lucas admired him and based a lot of STAR WARS on Kurosawa's style. It is evident. Kurosawa starts the story right away, in the middle of things. He tells the story economically. He uses wipes (like Lucas).

My friend Michael, who I think is quite "worldly", says he won't watch subtitled films because it's too much work. I used to think the same way. ** Make yourself work! It's worth it. It's not hard to follow at all. And for heavens sake, you're home in the comfort of your own couch -- if you miss a line or two, rewind the DVD and catch up. Fear of subtitles is no excuse to ignore Kurosawa's wonderful films.

Lastly, I'll comment on the Criterion presentation. I agree with one reviewer on the condition of the film used for this transfer. There are a couple of sections where heavy lines appear for a few seconds. I am not easily offended by older films with these problems. I assume none of that could have been corrected digitally or that a better print was simply not available. I have seen a few Criterion DVDs now, and think they do an admirable job -- this one included.

Rent/Buy YOJIMBO. Then, follow up and view its sequel SANJURO (which I enjoyed even more!).

Although it lacks the scope of THE SEVEN SAMURAI, THRONE OF BLOOD, and other more widely known films by the celebrated Akira Kurosawa, the 1961 YOJIMBO (also known as BODYGUARD) is one of the most important films of the second half of the 20th Century--and a film that was deeply influenced by American film. Even so, YOJIMBO stands on its own merits: it's a magnificent piece of cinema that will fascinate even those who normally turn up their noses at "movies with subtitles."

In theory, the film is based on the 1929 Dashiell Hammett novel RED HARVEST--but transports the basic story to a period in Japan when the Samurai class has fallen on hard times and must seek employment as common body guards. Sanjuro Kuwabatake (brilliantly played by Toshiro Mifune, who appeared in several Kurosawa films) is such a one, a scruffy looking and aging warrior who finds himself caught between warring factions of a Japanese village and responds by playing the two against each other.

One of the film's greatest assets is its visual style. Kurosawa is very clearly influenced by the look of the American western here, and most particularly so, in my opinion, by HIGH NOON. Consequently, YOJIMBO leaps the cultural divide with considerable ease--but Kurosawa uses the images of empty streets and the lone warrior to considerably different effect, presenting him as a dangerous figure who emerges from the dust and the wind to rip wide his foes. But the film does not rely on visual style alone: there is plenty of hard substance here, too. The plot is tightly wound, action-intensive, and laced with a dry and very black humor, and the cast is superlative throughout.

As it borrowed from the American movie western, so did it influence American film in return, most obviously in the form of the popular Clint Eastwood "spaghetti westerns" of the 1970s--where it was essentially remade as A FIST FULL OF DOLLARS. But frankly Clint Eastwood never had it so good: with Kurosawa at the helm and Mifune as the lead, Eastwood's "lone stranger" feels mighty tame in comparison.

The Criterion DVD offers the film in original widescreen and in the best possible condition short of a full digital restoration. As noted elsewhere, there are occasional blips and lines--but honestly the film is so driving that you will barely notice them. The subtitles also seem to be a better translation than I've seen in any other version. YOJIMBO was my introduction to Japanese cinema. I urge you to let it be yours as well.

GFT, Amazon reviewer

Would you PLEASE go through the lowest-rated reviews and delete the two reviews by the nitwits who complain that "Seven Samurai" isn't letterboxed? The film was shot in the 4:3 (square) aspect ratio, NOT WIDESCREEN, and therefore should not be letterboxed.

I felt compelled to check out what kind of people would rate this superb piece of art with anything less than 5 stars. This is what I found; One reviewer gave it a 5 star review , but only 4 stars.....high standards I guess. Another 4 star reviewer ought to learn how to compose a sentence, before criticizing others. One guy gave it a star and remarked that "it didn't make sense". Please don't hire this guy for flight traffic control. I wonder if he knows they were speaking Japanese. Then we have a reviewer who states; "it shows it's age". Isn't that amazing, it's set in the 17th century.
One reviewer dropped a star for remastering quality, not film quality. The 2 star reviewer had trouble constructing grammatically correct sentences. I didn't go any farther than Michael with the defective DVD. He gave it 1 star and asked advice from the "review board help desk". Well..........no, I'm not even going there. But in lieu of insulting Michael, I'm going to watch this excellent movie tomorrow.... again.

Akira Kurosawa (1910-1998) is probably one of the best directors of all time. His 1954 film entitled "Seven Samurai" ("Shichinin no samurai" in transliterated Japanese) is regarded as one of his best films and is without a doubt one of the best films ever made. The film is about a small farming village in sixteenth or seventeenth-century Japan that is under threat of repeated attacks from a band of 40 bandits. Being unable to afford weapons of their own and having little spirit to defend themselves, the villagers seek guidance from their elder, Gisaku (Kokuten Kodo, 1887-1960), who advises them to find several ronin (wandering samurai) to defend the village and who would be willing to work for three square meals per day since that is all the villagers can afford to pay. Several villagers travel to a nearby city to find willing ronin. They include Manzo (Kamatari Fujiwara, 1905-1985), Yohei (Bokuzen Hidari, 1894-1971), Mosuke (Yoshio Kosugi, 1903-1968) and Rikichi (Yoshio Tsuchiya). The first ronin that they find is Kambei Shimada (Takashi Shimura, 1905-1982), who is accompanied by a young man wanting to become a samurai, Katsushiro Okamoto (Isao Kimura, 1923-1981). Kambei is not interested at first, but changes his mind when he sees the villagers' desperation. Kambei and Katsushiro are able to find four more samurai: the humorous Gorobei Katayama (Yoshio Inaba, 1921-1998), the no-nonsense & highly skilled Kyuzo (Seiji Miyaguchi, 1913-1985), Heihachi Hayashida (Minoru Chiaki, 1917-1999) and Shichiroji (Daisuke Katô, 1910-1975). Then, there's also the very humorous, samurai-want-to-be named Kikuchiyo (played the world-renowned actor Toshirô Mifune, 1920-1997). The seven travel back to the village and begin preparations for the coming battle with the bandits, but some of the villagers are afraid of what will happen to their daughters with seven samurai roaming around; especially Manzo, who forces his daughter Shino (Keiko Tsushima) to disguise herself as a boy.

Though "Seven Samurai" is approximately 206 minutes (nearly 3½ hours) long, it never becomes tiresome. Instead, the film is very engaging, emotional and powerful as the story develops in large part due to superb acting, exquisite cinematography and the overall realism of the film. The acting skills of both Takashi Shimura and Toshirô Mifune stand out brilliantly. Toshirô Mifune, who made many other excellent historically based Japanese films, also appeared in many western films including the character of Adm. Isoroku Yamamoto in the 1976 World War II epic "Midway" and the character of Lord Toranaga in the 1980 TV-miniseries adaptation of James Clavell's novel entitled "Shogun". Memorable scenes in "Seven Samurai" include Kambei disguising himself as a priest, Kambei's technique of testing each samurai's reactionary skills, the battle between Kyuzo and the foolish samurai, Manzo disguising Shino, Kikuchiyo's drunkenness, the walk to the village with Kikuchiyo, the arrival at the village, Kambei studying the terrain, Kikuchiyo instructing villagers, the battle scenes and the graveyard scenes. Other memorable characters in the film include Rikichi's wife (Yukiko Shimazaki) and the bandit chief (Shinpei Takagi, 1902-1967).

Overall, I rate Akira Kurosawa's cinematic masterpiece "Seven Samurai" with a resounding 5 of out of 5 stars. It often brings tears to my eyes each time that I watch the film. I highly recommend the DVD version of the film to everyone. Sadly, the DVD is only available in full screen, but that does not detract from Akira Kurosawa's grand vision. "Seven Samurai" was remade in 1960 as the epic western "The Magnificent Seven", which starred Yul Bryner, Steve McQueen and Charles Bronson portraying gunfighters instead of samurai.

I saw this movie when it was first released in Honolulu at the Cinerama theatre in the true Cinerama format. I remember nearly falling out of my seat as the astounding race sequences played out before me. This is a truly organic race film, there are real drivers of the F1 era mixed in with the mostly European cast, though James Garner and Eva Marie Saint break the cross Atlantic barrier. This film is a wonderful technical masterpiece. It even has some fine dramatic moments in between the melodrama. Some might say this is the film's greatest short coming. That is true, but also where it really mirrors the emotional high that F1 has always worn on it's sleeve. F1 is a soap opera that is played out across the world, where the wealthiest mingle, though not too closely, with the proletariat for a few hours of high rev mania. Many of the courses in the film are still in existance, but they have been smoothed out and plundered of passion. Often the races held these days resemble a parade, but once in a while things go terribly wrong and a race ensues. And it is in capturing those glorious moments that the film really soars. You will feel the ripping of the air as a car tears through the streets of Monaco, and be stunned by the speed and savagery of a huge racetrack like The Spa in Belgium or the amazing high banked corners at the old track in Monza, Italy. The camera work is a virtuoso masterpiece of technical achievement. Many of the shots that we take for granted today on our live TV races were the brain children of the camera men who worked on the film. This film is the one all of that work we see on modern TV broadcast racing strives to emulate. You are in the race, in the cockpit, in the mind and the heart of the greatest racers in the world. And for those who know the history of the sport, the real greats of the sport in that era are on hand. Jack Brabaham. Graham Hill. Jim Hill. Bruce McLaren. Richi Ginther. Many of the great names that are featured in this film did not survive the harshness of the sport and succumbed to death because of failure of both man and machine. This film is a treasure. It may be out dated. It may be melodramatic. It may also be the greatest racing film ever, but some debate that the much more restrained, almost catatonic Steve McQueen film, Le Mans is the superior. I see them as equals, representative of the two types of mind sets in racing. The passionate, fiery visrtuoso who crashes as much as he wins, and the technician, the cool headed pro, who always finishes, and manages to win more than a few in the process. Which is better? You see these movies and figure it out for yourselves. I have.

A finer film on Formula 1 and the sport and art of racing you will never find. Filmed during an actual F1 season and using state-of-the art on-board cameras, Frankenheimer captures the true beauty and violence that is F1. This film could not be made today. The F1 drivers of the 1960s raced because they loved it. It was a passion. Many of today's F1 drivers are nothing more than spoiled brats. Although Steve McQueen was Frankenheimer's first choice to star in this film, James Garner does a superb job portraying the lone American driver Pete Aaron. No stunt double for Garner, thank you very much. Although some of the supporting characters and subplots are thin and uninspired, the film's racing footage is second-to-none. The sound of the cars is also spot on. The vastness of the Spa circuit is in beautiful contrast to the chlostrophoebic surroundings of the movie's opening race in Monaco. Only McQueens' "LeMans" comes close to capturing the sheer speed and danger of this beautiful sport.

I await this arrival on DVD more than any other film. It is a video time capsule of Formula One in the mid 1960's, with some of the best in-car shots Hollywood will ever see. Acting, schmacting, the cars are the stars in this classic. The HDTV and theatre system are locked and loaded. Come on Warner Bros, give us the DVD!

Thanks to Criterion, here is another title that will find its place in your library : Akira Kurosawa's HIDDEN FORTRESS. Shot in Tohoscope and in b&w, this 1958 action film may easily be compared to any Hollywood movies of the late fifties. In fact, HIDDEN FORTRESS is superior to most of the american productions of that period for a simple reason : Akira Kurosawa had a personal style very recognizable while Hollywood directors were very often only yes-men hired by producers for their technical skills.

The first 5 minutes of HIDDEN FORTRESS are already a moment of anthology. As well as the duel scene involving a fabulous Toshiro Mifune. The cinematography is gorgeous, Akira Kurosawa filming a wide variety of landscapes under the sun, the rain, in the fog, by day and by night : simply stunning. If you are not familiar with japanese movies, HIDDEN FORTRESS or YOJIMBO, also available in the Criterion Collection, could be an excellent introduction to this cinema that has produced numerous masterpieces.

As bonus features, a trailer and a 10 minutes interview with George Lucas recorded in january 2001. The american producer confirms that HIDDEN FORTRESS had a great influence on him while he was writing the Luke Skywalker saga. Movie lovers had already noticed it a long time ago.

A DVD zone reference.

First, I had always wanted to see this film on DVD. And I think why I am giving a lot less credit to Lucas, is the part of the interview where he said Hidden Fortress is not one of his top favorites. C'MON! I understand that Star Wars is an unparallel film for it's time and beyond, but between Seven Samurai and Hidden Fortress, at least one quarter of his trilogy scripts was developed by Kurosawa. Main similarities are the two peasants (c3po - r2d2), a princess (Leia), a samurai general who gets no respect from the princess until he had proved himself (Han), the samurai's best friend (Lando)...How does Lucas sleep at night knowing this film is his masterpiece? He should have called the Jawas - Sawas, right? This only leads me to believe somewhere out there is another director's piece of work he'll say is not his favorite, but helped him write one half of American Graffiti or Raiders. It's not like Lucas denied Kurosawa as being an influence; However, there is a fine line regarding influence and originality. To me, he moght have crossed it.

Yes, George Lucas was influenced by Akira Kurosawa (who was influenced by John Ford), but don't get the DVD for the interview, get it for the movie! The movie has Toshiro Mifune and together he and Kurosawa make magic. The movie has drama, adventure, LOTS of humor, lots of gold, two greedy farmers, dancing, warring clans and a cute princess. No, really, Misa Uehara had a great outfit that showed off her nice legs.
I love the interaction between characters, the action that never seems to stop and the poor farmers. In the end they value friendship more than gold.

Criterion deserves praise for it's presentation of Kurosawa's "Rashomon." Kazuo Miyagawa's cinematography is incredible in it's use of camera movement, light, shadows, rain and wind effects. I enjoyed the bonus excerpts from Miyagawa's documentary. I was intrigued by the film's approach of story telling from 4 difference sources i.e. the Woodcuter (Takashi Shimura), the Bandit (Toshiro Mifune), the raped Wife (Machiko Kyo), and the dead Husband (Masayuki Mori) told thru a Medium. The viewer must play detective to piece together the "truth" of what has taken place. We learn from "Rashomon" is that we all have our own personal vision of "reality." In this study of human nature, the characters see what they want to believe. Donald Richie's expert commentary was essential in understaning the film's structure. Richie discusses the films use of visual triangles in portraying the three main characters (Mifune, Kyo, & Mori). It's a must-see film for anyone that appreciates great art.

Akira Kurosawa, known as one of the greatest directors of all time, got international attention with this film, that opened up the Japanese film market to the world. Released in 1950, this film, along with the director won many coveted awards. The story is simple, but at the same time the film is very complex. Tajomaru, a bandit, played wonderfully by the great Toshiro Mifune, is accused of raping a woman, and murdering her husband, in the woods. Tajomaru, the woman, a witness, and the man himself (speaking through a medium) tell their version of the events. The thing is each one tells a different story, with their own perspective on the events, and perception of those involved. So as each story is told we go into flashback and see the different events, and how the characters act differently.

The film from a technical standpoint is perfect, with innovative use of the camera, and editing. Acting is done superbly, with each actor, playing a slightly different version of their characters in each flashback. The script cannot get better, based on two short stories. The film is very serious, and is a meditation on the nature of truth.Its about how truth is relative, and how we each have a different viewing of events, tastes, and concepts. It is also about how each person makes up their own truth, lies, to deceive themselves. Our ego is so big we need to comfort it, and keep it safe from harsh reality. In all this film is perfect, and is even sometime called Japan's Citizen Kane, in the way it impacted Japanese filming. The two films have many similarities. If you enjoy serious films, investigating the nature of truth, and ourselves, see this film. 5 stars.

Once you have passed through, you will be stripped of all pretense. This shocking movie leaves you wondering what has just happened. That it is able to do this in Japanese is all the more amazing.

You are left looking at the shell of a destroyed society, wondering how it could have happened in the first place-and wondering if it is possible for man to learn his lessons.

"Throne of Blood", aka "Castle of the Spider's Web", is the third Kurosawa film that I've seen, and it's definitely different from the other two ("The Seven Samurai" and "The Hidden Fortress"). It's much more somber and introspective, less action-oriented, and the general theme centers on ambition and fate rather than cooperative action to overcome a common problem.

The film is an adaptation of "Macbeth"; only instead of taking place in medieval Scotland, it's set in feudal Japan. I tend to be a Shakespeare purist, but I really enjoyed the different historical setting. Warlords, samurai and huge, squat fortresses are depicted in full glory. The samurai costumes are so beautiful and intricately detailed that I had to pause the film just to stare at them.

In addition, the dialogue and acting have been altered to fit a Japanese setting. Many of the scenes are shot in the Noh style, which is a very old, very classical form of Japanese theater. In Noh, the drama plays out on bare stages. In order to compensate for such sparse environments, the acting tends to be highly stylized. To Western audiences, this may translate as unrealistic, but to Eastern, I presume it comes off as compelling.

Toshiro Mifune plays the title character, Washizu, who receives predictions of power and glory from a forest spirit. Spurred on by his ambitious, scheming wife, Washizu commits heinous acts in order to fulfill the prophecy. The effect is like a tightening noose as Washizu becomes ensnared in his own web of ambition.

The final scene is a cinema classic. Never one to go for cheap effects, Kurosawa uses professional archers and real arrows, and Mifune's reaction is genuine. The scene visualizes the claustrophobic mood of the film and the idea of inescapable fate. Kurosawa was a master of this type of filmmaking.

I'm always impressed by how much Kurosawa accomplishes with so little. Take the forest spirit, for example. He simply shot her in blinding white light and removed all high notes from her voice. It's effectively creepy, yet it's something filmmakers today, with their multimillion-dollar CGI effects, would not even attempt. It's for these moments of filmmaking ingenuity, which "Throne of Blood" abounds in, that Kurosawa has become so well respected.

"Throne of Blood", despite a few slow parts and some overacting, is a gripping, haunting and worthwhile journey. It's also great filmmaking. I wouldn't recommend it to Kurosawa neophytes, but once you're hooked on the master of Japanese cinema, it's definitely one to seek out. If you're looking to purchase, the Criterion DVD is well worth the price; the film looks great and the commentary by Japanese-film expert Michael Jeck is entertaining and informative.

I am a student at Nagoya International School. Japanese is my first language, but I have studied English in my International School. And I was fortunate to see "Throne of Blood" in my English literature class. After viewing the movie, I found Kurosawa's Japanese version of Shakespeare's Macbeth was a spectacular masterpiece. "Throne of Blood" altered the setting of the story, but still kept the atmosphere of the original Macbeth, which was set in Scotland. I was afraid that the Japanese language in the movie would spoil the rich Shakespearian language included in the film. But Kurosawa kept the theme of Macbeth alive in the film by modifying couple of characters and plots of the story. For example, because witches aren't familiar to the Japanese in the 16th century, they replaced the witch by an evil spirit, Mononoke. Also, Kurosawa excluded characters like Macduff. So in the movie, the Mononoke didn't give the prophecy of "Beware of Macduff" and "Be afraid of no women born". Other than that, virtually all of the plot and characters were the same as the original version of Macbeth. This exhibits the fact that Kurosawa has successfully managed to keep the mood and the theme of Macbeth alive in the film.

A great deal has been made of the fact that THRONE OF BLOOD (also known as SPIDER'S WEB CASTLE) is drawn from one of Shakespeare's most celebrated plays. This is both a blessing and a curse, for while it gives western audiences a point of reference, it also invites all sorts of comparisons that viewers familiar with the Shakespeare play feel honor-bound to make--and that can get in the way of seeing the film as it is rather than what we expect it to be. And that would be a great pity, because what it is in and of itself is quite fine indeed.

The cast is a very strong ensemble, with frequent Kurosawa star Torshiro Mifune leading the film with a remarkably fine performance as the ambitious warrior Taketori Washizu. To my mind, however, the most memorable performance is offered by Isuzu Yamada as Lady Washizu--who plays the role with a demonic stillness that cracks into physical action only when she is completely sure of herself or in utter desperation. It is one of the most disturbing characterizations I have ever encountered.

As usual in any Kurosawa film, the imagery involved is extremely powerful, and the moody tone of the film quickly draws viewers in--and once ensnared there is no escape; the film holds your attention with considerable ease throughout. Even so, I would not recommend THRONE OF BLOOD to western audiences who have never seen a Kurosawa film, for it is so completely Japanese in aesthetic that some may find it hard to grasp. It is best seen after you are already familiar with both Kurosawa's work and Japanese cinema in general.

The Criterion DVD is quite good, with a nicely restored transfer and bonus features that include the original trailer, a choice of subtitle translations (I prefer the Hoagland translation), and a somewhat awkward but ultimately rewarding commentary track by Michael Jeck. If you're a Kurosawa fan and you've never seen THRONE OF BLOOD, this is your opportunity; if you're looking to replace an existing video with a DVD, this one is likely as good as it gets. Strongly recommended.

GFT, Amazon Reviewer