The Lion in Winter

 SPOILER ALERT! The plot will be discussed.

I enjoy good dialogue and there is plenty of it in The Lion in Winter (1968). James Goldman wrote the screenplay based on his play (and won a writing Oscar). The writing reveals the characters’ personalities while it entertains with its wit and ferociousness. In a way the movie is a medieval version of Who’s Afraid of Virginia Wolfe. The main desire here is ambition and power, and the hope of the royal offspring for acknowledgment. But also for the king and his wife it’s a game to keep them engaged in life in defiance of aging.

The titles are displayed with stone carvings of historical visages which suggest the iconic nature of these bigger-than-life people. Peter O’Toole reprises his role of King Henry II of England, an older version of the ruler he played in Becket which depicted the royal’s relationship with Richard Burton’s archbishop. He was nominated for an Oscar for Best Actor in both films, although I consider this performance the best in a distinguished career. The opening scene has Henry still strong enough to swordfight in his “winter” years as he says, “Come for me!” He is testing one of his sons, John (Nigel Terry), to see if he is worthy of the crown.

Henry wants his kingdom, and therefore his legacy, to last. He tells Alais (Jane Merrow), his young lover, that he doesn’t want to go the way of King Lear who divided his lands between three children and weakened the kingdom. In the twelfth century, the people thought the King was the closest individual to God. Thus, who held the position was of extreme importance. Unfortunately, in this story, the candidates are seriously flawed.

Henry flatters for the moment whoever he wants to win over and disdains those he wishes to lord over. He wants to reassure Alais by saying he has bedded many, including “countesses,” “whores,” “and little boys,” but he only loves her. He dismisses his queen, Eleanor of Aquitaine (Katharine Hepburn, tying with Barbra Streisand for the Best Actress Oscar for that year), calling her “the gorgon,” who is “decaying” where he “dungeons” her and only releases Eleanor on holidays. She is a threat to his wishes, but as we see a threat he respects.

We meet Richard, who we know as “the Lion-Hearted,” in the form of Anthony Hopkins (in his feature film debut). This son, too, is introduced in combat games as he jousts. He knocks a foe off his horse and appears to be ready to kill him with his sword until interrupted. Richard’s face appears in turmoil, as he struggles with his bloodlust.

The film introduces son Geoffrey (Johns Castle) also engaging in battle, but not personally. He does not physically partake in combat, but he instead directs troops in war games. The scene shows Geoffrey to be intellectual, aloof, seeing others do the fighting for him.

Alais reassures Henry after a bout of lovemaking that he will endure the day’s obstacles because he is like the rocks at Stonehenge, and that “nothing knocks” him down. The reference recalls the stone figures displayed with the credits, suggesting the king’s almost mythical strength.

Eleanor wants Richard to be king, and Henry wants John. But their only motives may be that they want to fight each other as opposed to believing their selections are the best ones. John is an adolescent who according to Alais has pimples and smells. He runs around like a child at play or in fear. Henry is willing to have Alais marry John for her dowry while she will remain his mistress. It seems the powerful are exempt from rules of morality. Along with the children, Alais wants some recognition, saying she could be a threat to Henry if she discloses what he wants. He dismisses her importance after previously saying how she is the only thing he ever loved. He brandishes his power, telling her that whatever he says, goes, and that includes him saying they are through or that she is to marry John.

Henry says to Alais that there may have been an “era” when he adored Eleanor. The word evokes a person whose life is attached to the ages. In contrast to that sense of grandeur, Henry moves one hair on her ahead that is askew, saying “nothing in life has any business being perfect.” There is a cynical feel to Henry sometimes, as if life is not what it’s cracked up to be.

John talks like a child, saying daddy loves me best, while Richard declares that he will be the next sovereign. Henry says to Alais he has no problem with his boys plotting against him, because it’s politics, which is a skill necessary to lead. He says, “I’ve plotted all my life. There’s no other way to be alive, king, and fifty all at once.” There is that harsh reality that Henry acknowledges about the world of rulers.

When Eleanor arrives by boat, the first thing Henry asks is whether the water parted for her. She said she told it to stay flat. They revel in the majestic nature of their positions. They smile at each other as they banter, with her sarcastically saying how he keeps her young because he lets her out for the Christmas holidays, like a schoolgirl. She is frank in her language and blunt when she tells her sons that despite her superior position, her destiny as a woman came down to what gender babies she produced. If she had not produced only girls with her first husband, she would still be queen of France and never would have met these sons. “Such, my angels, is the role of sex in history,” she says.

Eleanor says she raised Alais so she has mixed feelings about her. Richard calls her the “whore,” and yet he wants her as his queen as does John. Politics and power reign, not love. Henry jokingly says he and Eleanor will fight “tusk to tusk for eternity.” He relishes the family fight, and there is the feeling that they believe they are beyond earthly constraints and will live forever.

King Philip (Timothy Dalton) is a young monarch, and Henry attempts to bully him about treaties, but the French leader holds his own in their initial meeting. Alais is Philip’s half-sister and the daughter of the previous king of France, Eleanor’s first husband, Louis. He had promised Alais to Henry’s heir to the throne. Philip wants that to happen so that France will have influence in England. Otherwise, Philip wants the area known as Vexin, which was Alais’s dowery, forfeited. Henry says he already occupies the land, so he owns it. But as he reveals to Eleanor later he does not want another war, and enjoys the actions of a peaceful king.

Richard has possession of the precious Aquitaine region and refuses to yield anything to John who he calls “that walking pustule.” John appears hunched over and decrepit, so Richard’s assessment of him is understandable.

Geoffrey says he will be John’s chancellor, which is a powerful position. He positions himself for that job because Geoffrey says, “no one thinks of the crown and thinks of Geoff.” He adds, “It’s not the power I feel deprived of; it’s the mention I miss. There’s no affection for me here; you wouldn’t think I’d want that, would you?” Geoffrey knows his place in his parents’ feelings, but he resents that he is not accepted by them. Thus, he must be content with being the power behind a week person sitting on the throne. So, John is his best choice to be king.

Eleanor says to Alais she prefers her to her boys, but it is just a setup to then remind her that Henry chose Alais and her land over his previous lover. The implication is that he will have no problem discarding her for his own purposes. She then says she wouldn’t hurt Alais, after she just did, and Alais understands how unscrupulous Eleanor is.

Henry and Eleanor rotate words of affection and attacks with whiplash speed. He asks how she is doing but then says he will never set her free since she led several civil wars against him. He also dismisses Alais as just an old man’s dalliance, while before he told the young woman he loved her. She says she does like seeing him again. Their respect for each other comes through here, as she says he is still “a marvel of a man,” and he says, “and you’re my lady.”

On the surface they go to dinner smiling, hand-in-hand, as they walk among the many guests. Eleanor says she will have Richard become king and cares about that because Henry cares who will succeed him. She readily admits it is just to vex him that she disagrees. He says he wants some peace, and she offers, “eternal peace,” a not-so-subtle death threat. When he says he will strike her any way he can there are dogs barking and growling in the background to stress the savagery behind his threat, and she looks worried. She asks if he ever loved her and he says no, another reversal of affections. She says it will make their fighting easier, but her asking implies that she feels hurt.

Eleanor asks Richard to see her. She says she hopes for a reunion since they have been apart. But she calls him “dull,” and when she states that his violence on the battlefield agrees with him, it is not a compliment. He doesn’t trust her, thinking he she might try to ambush him. He has the Aquitaine, but believes she wants it back. He says she’s “so deceitful,” that she “can’t ask for water” when she’s “thirsty.” She would lie even if her life was at stake. He goes on to say, “We can tangle spiders in the webs you weave.” Now that is a witty way of saying his mother can trap even those that are skillful in laying their own traps.

Henry says he is willing to give in to letting Richard be king because his son would fight him for it anyway, and at least England would stay unified. John, of course, feels betrayed.

Eleanor is always suspicious of her husband and says that the “second coming” will occur before Henry gives up on John and lets Richard marry Alais. Geoffrey has no loyalty to anyone but himself, so he quickly says he will help Eleanor if he becomes Richard’s chancellor by manipulating John. She sees his cruel selfish nature, and he acknowledges that he would sell them all out if he found a way. Geoffrey shows that Henry is right when he said that “power” is the only fact to face in the world as it is the preoccupation of all heads of state, then and now.

In another talk with Richard, Eleanor says she just wants to see him be king, but he says that all she wants is to get vengeance on Henry for locking her up, and he does not want to be used for that purpose. She goads him by saying how Henry was superior to Richard at an earlier age. She recalls when Henry was eighteen he had, “a mind like Aristotle’s and a form like mortal sin. We shattered the Commandments on the spot.”  This daunting description again shows how the two envision themselves as grander than others. It also emphasizes Eleanor’s earthiness, which is noted when she says she rode “bare-breasted” while on one of the Crusades. After being pushed, she admits that what she really wants is the Aquitaine back, and Richard believes it because it is power she wants. She says she wants it only because she can use it to bargain with Henry. When she says she loves Richard, he is cold, saying, “You love nothing. You’re incomplete. The human parts of you are missing. You’re as dead as you are deadly.” His zombie-like description of her has truth in it, but we have seen varying emotions in her. She cuts herself on the arm and he melts, as she reminds him of pleasant memories when he was a child. Is she sincere about her affections? Maybe, at least in the moment.

                                    

The following scenes are labyrinthine in the moves and counter moves, as all the principles jockey for position. It’s not an accident that there is a chessboard with pieces on display. Philip, Geoffrey, and John plot a war against Richard and Eleanor to make John king. Eleanor tells Henry that perhaps Richard would not believe Henry’s offer to make him king. His witty response is, “There’s no sense in asking if the air is good if there’s nothing else to breathe.” Henry’s impression of his absolute power is evident here. He wants the Aquitaine for John, and she refuses. She says she’s like the earth, “There’s no way around me.” She refuses to bow under Henry’s threats. She knows she can still inflict emotional pain on him when she says she slept with Thomas Becket. When he shudders, she admits it’s a lie, but she can see she can hurt him. She even suggests that she may have slept with Henry’s father. He offers her freedom after ten years of imprisonment if she releases the Aquitaine to John. She counters with only if Richard and Alais marry immediately. Again, there are dogs barking and growling to mimic the bestial nature of these attacks on each other.

Henry acts as if he goes along with the marriage despite Alais’s protests. She has already expressed her disgust at being used as a pawn and doubts Henry’s stating he loves her. When they are at the altar, Henry lets out that he will get the Aquitaine so that Richard will hear it and refuse to go forward with the wedding. Philip may be young, but he realized Henry’s ploy to torpedo the wedding. John is back in the picture again as a possible king. And the scheming goes round and round.

Henry says he enjoys being king as he plays with the ambitions and emotions of others. It is sadistic. Eleanor takes on the role of masochist as she asks to see Henry kiss Alais. She says it’s an intellectual exercise because she imagines it and wants to see how reality fits her imagination. However, when she witnesses the act, she shakes, and her eyes become moist. Her sense of loss is palpable.

She feels defeated and resigned to going back to her jail. Her sons visit her. Cold Geoffrey is probably that way because, as he says, he only remembers indifference from his parents. Eleanor admits that at times they did not like any of the children, which explains the young men’s insecurity. There is sibling rivalry between John and Richard to the point that Richard draws a knife. Eleanor says they all have knives. Despite the current times (1183), “we’re barbarians … We are the killers. We breed wars. We carry it like syphilis inside ... For the love of God, can’t we love one another, just a little. That’s how peace begins … We could change the world.” Her words are timeless, as she lays all crimes of violence at the feet of leaders who rule countries and members of families who feud with each other.

John blurts out that he must see Philip because they had an alliance to wage war against Henry and Richard and he must stop Henry from hearing about it to stay in the king’s favor. Eleanor, feeling revived as she sees an opening to get what she wants, tells Richard to promise Philip “anything.” Her insinuation reveals that she probably knows of Richard’s homosexual involvement with Philip in the past.

An almost absurd scene follows in Philip’s chambers as all the males maneuver for political position. John, hiding, hears Geoffrey plot against everyone else with Philip. John’s dullness can be seen as he says to Geoffrey, “You’re a stinker, and you stink.” Whereas the more eloquent insult from Geoffrey is, “If you’re a prince, there’s a hope for every ape in Africa.” Richard arrives as the other two brothers hide. Richard wants Philip’s military backing to gain the throne. The conversation reveals what Eleanor hinted at, and the affection that Richard has for Philip under his bluster is evident. As Philip said, tapestries are for hiding, so Richard now hides as Henry shows up. Henry discovers Philip’s plans of pitting Henry’s children against him. Philip tells Henry about suffering Richard’s advances and allowing Richard to believe he loved him so he could lord it over Henry. The sons come out of hiding, and Richard is embarrassed and emotional for a change as he said he would have been loyal to Henry if his father had shown some affection for him. John’s willingness to wage war against Henry hurts the monarch, but John says Henry never loved anybody. Geoffrey says he’s all that’s left to choose from to be king, but he is loyal only to his own ambitions. Henry and Eleanor’s desire to control and adopt power plays left their sons warped in emotional deprivation.

Henry is shaken by the nature of his boys and denies them all. He says he married a woman “out of legend,” still showing his admiration for Eleanor. But he says he had no “sons,” and says his children are gone.

A meeting between Eleanor and Alais contrasts them and yet shows their mixed feelings for each other. Eleanor says she may have loved Henry “before the flood,” referencing Genesis, adding to her perception of a connection to ancient and biblical times. She doesn’t like that Alais would sit next to Henry because that is her place. Alais says that Eleanor loves the kingdom whereas she just loves Henry. She says her gift for Christmas would be for Eleanor to suffer. But then they embrace, since Eleanor and she were close for many years.

Henry enters and dismisses Alais. Eleanor is tired and says she just wants things over. She says she will sign her lands over to John, but Henry just applauds her, assuming it’s a performance. They have been so devious with each other they can’t even tell what’s true, He says that he doesn’t want her to sign anything. He delights in manipulating her and finally reveals that he will go to Rome for an annulment so he can marry Alais and she can give him more sons, the current ones being defective. He says Geoffrey is “a device. He’s wheels and gears.” John cheats, lies, frequents whores, and whips servants. She blames him for John, and he blames her for keeping Richard to herself and denying him complete development. They continue to spar as she says, “I adored you. I still do.” He says that’s the most terrible lie of all. She says she knows, “That’s why I saved it up until now.”

They momentarily relish the dynamic between them, hug, reminisce, and kiss. However, they can’t help themselves; they must keep battling. She says there will be no annulment because she will not let Henry go. He says there is no connection between them, no meetings, gifts, or communications. What she really wants still is Richard to become king, and she just has to wait as he grows old and feeble for it to happen. If a son is born to him, she’ll push Richard through “the nursery door,” to kill his “grotesque” offspring. She does not consider that scenario cruel after all that he has put her through. She says, “I could peel you like a pear and God himself would call it justice!”

As Henry is ready to storm off to Rome for an annulment from the Pope, Eleanor says that his sons will join with her and Philip to defeat him when the boys know his plan to marry and have more sons. He counters by saying he will lock them all up. She torments him by describing having had sex with his father. After he runs out, she says, in contrast to the previous exalted dialogue, “Well, what family doesn’t have its ups and downs.” It’s an ironic statement considering how we have been dealing with kings, princes, and a queen. Hardly a pedestrian bunch.

Henry imprisons the boys and convenes an entourage to take him and Alais to Rome for an annulment and a wedding. She wisely notes that he must keep the sons imprisoned or else they will revolt. And if Henry dies and they get out they will kill the new offspring. Eleanor bribes a knight so she can give the captives knives to escape. Geoffrey thinks the best move is to kill Henry, which horrifies Eleanor. She tells Richard it’s “unnatural” to be an assassin. He counters with the nihilistic view that exists in the story by saying, “If poisoned mushrooms grow and babies come with crooked backs, if goiters thrive and dogs go mad and wives kill husbands, what’s unnatural?” She says she is not responsible for what he has become, but he points out she was his role model.

Henry shows up in the wine cellar and when Richard grabs one of the knives, Henry tosses the other knives to John and Geoffrey. Henry now echoes what were the first lines of the film, “Come for me!” It is not just practice now, but it can be a test. Geoffrey doesn’t have the stomach for it. Richard has difficulty initiating the attack against the reigning king. John lunges for Henry, who sidesteps him and puts a knife to his throat. Eleanor surprises by calling Henry’s bluff. She says they are assassins and traitors so he should execute them. Henry slams the flat part of his sword onto Richard’s shoulder and finds that he cannot kill his own children.

He says he’s lost everything and blames Eleanor. She is unsympathetic to his complaints. She tells him to take responsibility. “If you break it’s because you are brittle,” she says. She has truly lost, she says, because she can’t have him back. She says she wants to die, and he comforts her. She says there is no hope in life, but he counters by saying they are alive and that is what hope is, a kind of reduction of the cliché, “Where there’s life, there’s hope.” She says that they are “Jungle creatures.” Despite their intelligence, they figuratively claw and bite to survive.

He accompanies her to her boat, and she asks if she can come back at Easter. He says, “Come the resurrection, you can strike me down again.” They look forward to their political and personal jousts. He says as she sails away that he hopes they never die, and she feels the same. He says, “Do you think there’s any chance of it?” The two historical battlers laugh as they part, contemplating immortality again. And right they are, since they live on in texts and stories.

Throne of Blood

SPOILER ALERT! The plot will be discussed.

The Japanese title for this 1957 film from director Akira Kurosawa is “Spider’s Web Castle.” Although the “Throne of Blood” title rings true to the source material for the story, namely Shakespeare’s Macbeth, whose main character ascended the throne of Scotland through murder, the Japanese translation also fits the tale here. The castle is the home of the Great Lord who is the ruler of this realm. The forest surrounding the fortress contains interwoven paths through the woods that are meant to thwart attacks. However, in this story, the forest fits in with the saying, “Oh what a tangled web we weave/ when first we practice to deceive,” since the main character, Washizu (Toshiro Mifune, Kurosawa’s go-to actor), is caught up and undone in the tangled path of treachery he follows.

The movie begins with a desolate setting where wind (the winds of time?) have swept away what was once the Spider’s Web Castle. We hear an unseen chorus chanting (reminiscent of the ancient Greek theater device that comments on the moral issues in the drama). They say that the tale deals with destruction caused by all-consuming human desires which are delusions compared to life’s true nature. In the end, all but ruins are left as a result of treacherous ambition. Their words remind one of the Book of Ecclesiastes in the bible which speaks of the lack of progress in the natural world as all is caught up in the repeating cycle of death and birth. The book says pursuit to satisfy selfish desires is transient, since in the material world, “all is vanity, and a striving after wind.”

We then travel back in time to medieval Japan where two warriors, Washizu and his friend Miki (Akira Kubo) have won a military victory for the Great Lord against his enemy, Inui. On the way to receive thanks from their leader, the two men become lost in the very forest which is supposed to confuse the enemy, which hints at problems to come. (Forests in traditional literature are many times places of danger where one can stray from a safe journey because of a loss of direction. A couple of films, The Wizard of Oz, and The Princess Bride, are movie examples). As we see here, one can also become lost in such a place morally. They hear a screeching which they attribute to an evil spirit. They discover a shack which was not there before. There is what looks like an old person spinning yarn, and the turning wheel he uses also points to the theme of repetition of birth and death in the material world. He is singing words that mirror some of the chanting chorus. He sings about the meaninglessness of the nature of man, who will eventually “decay into the stink of flesh.” Man also burns himself up in the “flames of desire.” Mortal man is part of that eternal return of the same since from the foul stench of human decay comes the sweet perfume of the flowers. The man also says that men can’t see into their own “hearts,” which points to an inability to recognize a person’s inner nature, including its flaws. These words are warnings which go unheeded by the men, especially Washizu. When they interrupt the man, who is really a spirit, he reveals that he knows their names and commands, and predicts that Washizu will be made Commander of the North Garrison, and eventually will be the sovereign who will rule from the castle. Miki’s son will eventually become ruler, too. Then the spirit and his shack disappear, but what remains are mounds of dirt filled with human bones, meant to remind them of their mortality and the price that is paid for indulging one’s selfish ambitions.

The impenetrable mist and the blinding wind in the movie suggest that inability to see through to the truth of the “vanity” of human pursuits and to gain insight insight into a person’s true self. The two men laugh about the predictions as they rest outside the castle. Later, however, the Great Lord awards them the exact posts the spirit foretold they would receive. Washizu anguishes over his fate, since he is torn between his loyalty to the Great Lord and his own wish to replace him. Washizu spoke to Miki about how the meeting with the spirit was like a dream, and dreams expose our baser natures. In psychological terms, the unconscious mind harbors the selfish yearnings of the uncivilized id. Instead of the encounter in the forest dictating Wahsizu’s destiny, it instead allows his true immoral character to emerge.

We then see Washizu with his wife, Lady Asaji (Isuzu Yamada), (the Lady Macbeth of this film) who he has told about the prophecy. She wants him not to feel guilty because she wants her husband to act on his ambitions, which she says are natural desires given his military standing. She sows paranoia by warning him that if Miki tells the Great Lord of the prophecy then he will kill Washizu to protect himself. She urges him to kill the leader first, and escape retribution and fulfill his destiny. Her motto is kill or be killed, which derives from a sort of survival of the fittest jungle law. Washizu says that Miki would not put him in danger since he is a loyal friend. Asaji says that he can’t rely on that friendship because the times are degenerating, and instead of trying to fight that trend, she urges accepting it and acting accordingly. Obviously, she wants to satisfy her appetite for power through her husband. Asaji’s alternating deliberate and quick movements, which are stylized, like a sort of ballet, derive from the Japanese centuries old theatrical tradition of Noh. The word means “talent” or “skill,” and the art form employs stock movements to convey emotion and masks to represent character types. In any event, Asaji’s motion implies that there is something off about her. Her rehearsed motion suggests she is staging a performance to influence Washizu.

The Great Lord visits Washizu’s garrison to fortify the border and attack Inui when possible. He makes Washizu a vanguard commander and assigns Miki to guard the castle. Asaji twists the ruler’s intent around, basically providing her husband with medieval “fake news,” telling him that the Great Lord is exposing Washizu to an attack, hoping he will perish, while protecting Miki in the castle fortress. She eggs Washizu on by saying that Miki will laugh at him from his place in the castle. She wants to put the guards, who are under the command of Noriyasu (Takashi Shimura), to sleep by plying them with sake, kill the Great Lord, and then blame it on Noriyasu for using a guard to commit the murder. After the guards are asleep, Asaji brings Washizu his weapons in the room where a traitor was placed after capture and killed himself. The association of the room with Washizu designates him as a traitor, also. He seems torn, but goes to kill the Great Lord. He returns with a bloody sword, which Asaji takes from him and places it in a guard’s hand. She then washes the blood off her hands. She yells out that the ruler is in danger. Washizu kills the guard to make it appear he was exacting revenge for the Great Lord. Noriyasu flees with the Prince, who is the Great Lord’s son, while yelling that Washizu is the traitor. Washizu goes to the castle to find out what Miki will do. Miki says that the Great Lord’s wife killed herself, wanting to die rather than witness her husband’s enemy taking over the castle. The irony here is that Washizu, supposedly a loyal servant, is the enemy. Miki says that the prophecy is coming true, and Washizu is the best person to defend the kingdom from the enemy, Inui.

Later on, there is to be a ceremony to anoint Miki’s son as Washizu’s successor, as per the prophecy, since Miki has been loyal in supporting Washizu as the new ruler. Also, Washizu and Asaji have not been able to have children. Asaji argues against announcing Miki’s son as the next sovereign. Asaji drops a bomb when she tells her husband she is pregnant. Now it is no longer in Washizu’s best interest to make Miki’s child the next leader. We hear screeching birds, which Miki’s son says is a bad omen, and the young man is able to see that the forest spirit did not cause the prophecies to happen, but allowed the men to bring it about. At the banquet, Miki and his son are absent. Just as in Macbeth, the ruler sees the ghost of his friend. We now know that Miki has been killed. Washizu acts like a madman as he talks to the empty air and stabs at the ghost that nobody sees. After dismissing the guests, the assassin sent to kill Miki returns with the dead man’s head wrapped in cloth. Miki’s son, however, was able to escape.

We hear soldiers saying that the realm is starting to decline, with fewer noblemen showing up at the castle. Some were forced to take their own lives because the paranoid Washizu doubted their loyalty. Asaji has spread the false rumor that Inui’s spies killed Miki, but many of the soldiers do not believe it. There are rumors, which turn out to be true, that Miki’s son, Noriyasu, and the Great Lord’s son have joined with Unui to fight against Washizu. There are more omens, such as rats running away from the castle, which indicates to some that the rodents “flee a house before it burns.” Later, numerous screeching birds invade the castle, mimicking the sound of the evil spirit in the woods. Another bad omen is that Asaji gives birth to a stillborn baby. Washizu in private calls himself a fool after losing a leader, a friend, and now a child, but he continues on his self-destructive path.

Washizu returns to the forest to look for the spirit, who greets him invisibly at first with derisive laughter. When he appears, he says that as long as Washizu continues on this road of spilling blood, he will rise to a “pinnacle of evil,” which sounds contradictory, because good deeds are usually associated with “rising.” It is like Washizu is similar to Satan who is a king, but of the pit of hell because of atrocities committed. The spirit tells him that he will not, however, be defeated in battle as long as the trees of the forest do not attack the castle (a sneaky prophecy right out of Macbeth). Since this occurrence seems an impossibility, Washizu is emboldened, and having learned nothing about himself, says he has no qualms piling more dead bodies onto the the hills of bones the spirit has shown him.

Noriyasu, leading the armies against Washizu, says that the forest is a web of trails that ensnares people, and orders his men to follow a straight path through the trees. His command is a metaphor, urging his men not to be led astray, but instead to pursue a straightforward righteous path. Another bad omen presents itself, as Asaji, like Lady Macbeth, has gone mad, possibly due to guilt, and the loss of her child along with her now failed plans for ruling, and Washizu is horrified to find her continually washing her hands while saying the blood remains on them.

Washizu tries to rally his troops by sharing the prophecies, and telling them that of course it is impossible for the trees to march against the castle. As it turns out Noriyasu’s soldiers use the tree branches as camouflage to attack the castle, so it appears that the trees themselves are approaching. Washizu’s own men attack him, showering arrows upon him. He looks like he is ensnared in a web of violence he has created, and dies wrapped in the weaponry of death.

The film ends as it began, in a wasteland of dirt and wind, with the chorus chanting that only a monument remains where there once stood a castle of men’s delusions, a symbol of the misguided idea of worldly achievement through selfish ambition, which is transient. This is a story that says that personal, indulgent desire is consuming, and burns itself out, passing into ruin.

The next film is The Silence of the Lambs.