Kurosawa's film

The method to be followed is to testify the interpret Macbeth for its plot, themes, characters, and events, then to do the same with the flick mountain of Blood. The comparison to be made of the two takes place on two basic levels:

1) direct comparison of characters and events to receive what was changed and what was non; and

2) thematic comparison to see if the two are matched in terms of underlying meaning even if elaborate have been altered.

Kurosawa has given his view of what adaptation means when he says that he "believes that every adaptation must be an commentary" (Prince 125). The process of interpretation is subjective. There is no indication, for instance, that the interpretation has to agreement with the original intent of the author of the source material, though sure enough that is inherent in some of the critical response to the film.

Donald Richie notes that unity of the reasons why Macbeth appealed to Kurosawa was that he saw in it the opportunity to bring out a mixture of the two essential styles of japanese film, that of the film that looked to the past, and that of the film that looked to the contemporary scene:

In Macbeth, Kurosawa saw a contemporary issue--a parallel between medieval Scotland and medieval Japan which illuminated

The phantom Noh turn usually begins with the deuteragonist, normally a traveling priest, and toward the end of his travel he encounters the protagonist in the guise of a local anesthetic inhabitant. The protagonist then tells the priest a story link up to the locality. The protagonist leaves and the priest falls asleep. The second part of the play takes place in the supernatural reality of his visionary dream. The priest sees the protagonist in his real identity:

The treatment of this film, Richie believes, is derived from the Noh period of play, and angiotensin-converting enzyme of the important elements derived from that form is the chorus. Richie finds, however, that there are more elements than this in the film, all derived from the Japanese theater.

One of the reasons for this is simply that Kurosawa is fond of the Noh and has so stated:

Of course, the handwashing is also pure Shakespeare, which may be some other reason the material attracted Kurosawa in the first place.

She moves, heel to tow, as does the Noh actor; the shape of Isuzu Yamada's face is used to suggest the Noh block out; her scenes with her husband have a very Noh-like composition, and her handwashing is pure Noh drama (Richie 117).

Maynard Mack discusses the theme of regicide, finding that in several plays the work of the regicide becomes increasingly symbolic as an act of drama:

Macbeth and Banquo enter, see the witches, and Macbeth comments on them, noting that they "look not like th' inhabitants o' th' earth" (I.iii.41). formerly the witches have spoken and have told Macbeth of what will be, Banquo asks what they see for him. They react and then vanish, and from what Banquo and Macbeth say, they do so magically, leaving no succeed and seeming to disappear into thin air. The scene concludes as Ross and black Angus enter and deliver news of the king. There are umpteen ways this scene can be staged. Shakespeare's directions are sparse. The intemperate weather is evident from the text. Macbeth and Banquo enter and find the witches,
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