Shakespeare in Japan

Since 1889 translations of Shakespeare’s works have appeared in Japan along with interpretations of his plays through the prism of Japanese Arts. Many of the early adaptations were based on the well known abridged versions of the stories by Charles and Mary Lamb, though complete translations were becoming available.

Whether in plays, the puppet theater called Bunraku or Kabuki, Shakespeare’s stories of human drama resonated with people not only because of their universal appeal but also due to their affinity to themes of Japan’s recent feudal past. Hamlet and Macbeth were particularly popular dealing as they did with topics such as the duty of revenge and the lust for power.

In movies many people are familiar with Kurosawa’s retelling of King Lear in Ran (“Chaos”) but I actually prefer his earlier retelling of Macbeth called Kumo no Sujo (“Throne of Blood”). The literal translation “Cobweb Castle” more accurately reflects the movie’s storytelling style, rooted in traditional themes of Japanese horror such as the use of ambiance rather than direct action.

The ever changing dynamics of human conflicts are dwarfed by the ever present malignancy of nature and the castle is simply an island of human endeavors in the ocean that is the fog enshrouded Cobweb Forest.

The evil spirit that forecasts the future of Macbeth and Banquo in the forest is another traditional element of ghost stories, the yurei, a vengeful ghost that seeks to create dissension in the living. As the Lady Macbeth character moves inexorably towards psychosis the implication seems to be that she’s possessed by this spirit and used to destroy what men have built, returning the area to its primeval state.

Noh is another prominent influence in the movie, beginning with the opening sequence where chanting reminiscent of Utai (the recitative background for Noh) is sung to establish the setting. The key role of Lady Macbeth meanwhile is established as one of the standard roles in Noh called "Shakumi” through her makeup and mannerisms.

As in the previous discussion of Cyrano de Bergerac, this refraction of Western literature through Japanese artistic paradigms invigorates the movie with a uniquely vibrancy and makes it my favorite version of Macbeth on screen.