entire extended family (both legal and extra-marital) to what he imagines is the safety of a farm in Brazil. Production went much more smoothly than the director's previous film, but a few days before shooting ended, Kurosawa's composer, collaborator, and close friend Fumio Hayasaka died (of tuberculosis) at the age of 41. The film's score was finished by Hayasaka's student, Masaru Sato, who would go on to score all of Kurosawa's next eight films. I Live in Fear opened in November 1955 to mixed reviews and muted audience reaction, becoming the first Kurosawa film to lose money during its original theatrical run. Today, it is considered by many to be among the finest films dealing with the psychological effects of the global nuclear stalemate. Kurosawa's next project, Throne of Blood, an adaptation of William Shakespeare's Macbeth—set, like Seven Samurai, in the Sengoku Era—represented an ambitious transposition of the English work into a Japanese context. Kurosawa instructed his leading actress, Isuzu Yamada, to regard the work as if it were a cinematic version of a Japanese rather than a European literary classic. Given Kurosawa's appreciation of traditional Japanese stage acting, the acting of the players, particularly Yamada, draws heavily on the stylized techniques of the Noh theater. It was filmed in 1956 and released in January 1957 to a slightly less negative domestic response than had been the case with the director's previous film. Abroad, Throne of Blood, regardless of the liberties it takes with its source material, quickly earned a place among the most celebrated Shakespeare adaptations. Another adaptation of a classic European theatrical work followed almost immediately, with production of The Lower Depths, based on a play by Maxim Gorky, taking place in May and June 1957. In contrast to the Shakespearean sweep of Throne of Blood, The Lower Depths was shot on only two confined sets, in order to emphasize the restricted nature of the characters' lives. Though faithful to the play, this adaptation of Russian material to a completely Japanese setting—in this case, the late Edo period—unlike his earlier The Idiot, was regarded as artistically successful. The film premiered in September 1957, receiving a mixed response similar to that of Throne of Blood. However, some critics rank it among the director's most underrated works. Kurosawa's three next movies after Seven Samurai had not managed to capture Japanese audiences in the way that that film had. The mood