Abstract In this article, the writer notes that Akira Kurosawa's 'Throne of Blood' is more than just an adaptation of Shakespeare's Macbeth. The film is a visual feast with riddled rich symbolism. The writer maintains that it is that symbolism that makes 'Throne of Blood' so memorable. The writer notes that 'Throne of Blood' has a somewhat misogynistic tone that portrays females as socially subservient and spiritually evil. Crescent moon symbols combined with frequent intrusions from the natural world imbue 'Throne of Blood' with pagan symbolism and supernatural elements. The writer maintains that Kurosawa succeeds in solidifying this eerie atmosphere by transforming one of Shakespeare's most disturbing tragedies into high cinema.
From the Paper "Filming in black and white also suggests the moral choices between good and evil. Washizu seems incapable of distinguishing between good and evil, symbolized by the mist that clouds his vision at several points in the film. He had once remained loyal to his best friend and to his Lord. Until Asaji poisons his mind and suggests that Miki is plotting against him, Washizu's moral choices are sound. Later his choices are clouded by delusional thoughts and the central character descends into a spiral of murder, madness, and mayhem. Ironically, the witch and Asaji are both shrouded in white, which is usually a color symbolizing purity and goodness. Asaji is the most directly evil character in Throne of Blood. Her white face and clothing do not symbolize purity as much as they signify the thematic connection between her character and the witch. The witch appears bathed in white light, which emphasizes her otherworldliness. Neither good nor evil, the witch simply tells Washizu what she sees. It is Asaji who tells Washizu how he should act. Both the witch and Asaji influence Washizu and sway him from one moral pole to the other."
