Master filmmaker Akira Kurosawa's story of feudal warrior chieftain Taketori Washizu, his ambitious wife Asaji, and the desire for power that destroys them both, is set in medieval Japan. This masterpiece in black and white is making the rounds of revival and art houses in radiant new prints as part of a new tour of the films directed by Kurosawa and starring Toshirô Mifune. Those familiar with these works will welcome a chance to see them again. Those who have never seen these remarkable and influential works are in for a treat. Six of the titles, including Throne of Blood (Kumonosu jo) are accompanied by new subtitles by Linda Hoaglund, an expert at grasping the nuance of the two very different languages. She grew up in Japan with her American parents and learned both languages simultaneously, enabling her to provide rich and incisive translations.

Though widely assumed (in the west) on its 1957 release and since that time, to be Kurosawa's adaptation of Shakespeare's MacBeth, some recent thinking, in a more politically correct world, suggests that the themes, settings and characters are more a fusion of Japanese traditions with Shakespeare's plot and poetic structure. The influence of Japanese Noh theatre and the Kabuki mask-like faces of the players are clear. There are also definite differences in some major characters, particularly MacDuff and Duncan. The much-debated issue about translating literature into film as applied to Throne of Blood and MacBeth seems to center around whether the text of the literary work should be faithfully adhered to in the film. The discussion continues regarding whether Throne of Blood is truly an adaptation of this source material but there is no doubt that Kurosawa's version is a riveting cinematic accomplishment.

One of the best films in the exceptional collaboration of the director with Japanese screen icon Mifune gives us the actor at his best as the ferocious lord whose desire for the power of the throne blinds him to the treachery of his ambitious wife, Asaji. Mifune's magnificent face oozes the strength, intelligence, and self-assurance of a warlord on the ascent. He allows himself to be swayed by his wife's goading because it serves his purpose. After his murderous deed, we need not imagine the scene. We must watch in close up as she pries the sword from his bloody frozen fingers. Visually mesmerizing, from the other worldly fog-shrouded Spider's Web Forest to the final battle scene, Kurosawa creates a tense, weighty mood. Among the many striking shots are the vanishing seer in the forest and Lady Asaji, dressed in white and disappearing through a pitch black doorway, then reemerging an instant later with a bowl of poison sake. The effect is chilling. She displays the controlled demeanor of a Japanese noble woman, suited to her character, but her bitter, malicious heart is very near the surface. The 13th century setting, somewhat sparse dialog and authentic costuming has a similarity to the American westerns of John Ford, an acknowledged influence of Kurosawa's. Kudos to Cowboy Pictures for this addition to its film restoration projects.

Toshirô Mifune: Taketori Washizu	Isuzu Yamada: Asaji
Director: Akira Kurosawa