I conclude this part of the book with an analysis of Kurosawa’s version of Macbeth not only because many admire Kumonosu-Jô as a movie that stands brilliantly alone for adapting Shakespeare’s play to film without using one word of the original text. As will be seen, it does this by utilizing the most creatively filmic of ‘filmic’ approaches, drawing on many of the elements of mode, style and genre convention previously discussed. In addition to being a tour de force of cinematic artistry, the film reworks Shakespeare’s play so radically in its use of a non-Western society’s culture and history that the result is unique in the Shakespeare film genre.
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