Lily manipula a su esposo Joe para asesinar al jefe del crimen y hacerse cargo del sindicato. Joe se vuelve paranoico y asesina al padre y esposa de Lennie. Lennie busca vengarse de Joe. La ... Leer todoLily manipula a su esposo Joe para asesinar al jefe del crimen y hacerse cargo del sindicato. Joe se vuelve paranoico y asesina al padre y esposa de Lennie. Lennie busca vengarse de Joe. La culpa consumen a Joe y lo llevan a la caída.Lily manipula a su esposo Joe para asesinar al jefe del crimen y hacerse cargo del sindicato. Joe se vuelve paranoico y asesina al padre y esposa de Lennie. Lennie busca vengarse de Joe. La culpa consumen a Joe y lo llevan a la caída.
- Dirección
- Guionistas
- Elenco
Grégoire Aslan
- Duncan
- (as Gregoire Aslan)
George Margo
- Second Assassin
- (as George Marco)
Al Mulock
- First Assassin
- (as Alfred Mulock)
Victor Baring
- Chef
- (sin créditos)
Jess Conrad
- Man with umbrella
- (sin créditos)
Shirley Douglas
- Patsy
- (sin créditos)
- Dirección
- Guionistas
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Opiniones destacadas
I have only seen this ONCE about 10 years ago and have been furiously searching for it ever since!! It thoroughly broadened my perspective, perception and understanding of the original play. From what I remember the performances were mesmerizing, most notably Paul Douglas and Ruth Roman who positively SIZZLED as Lily Macbeth and is easily the best thing I have ever seen her in. When I find it I definitely plan to capture it. I HIGHLY RECOMMEND!!
A fortune teller predicts a rapid, bloody rise to the top for a mid- level mobster and it soon comes to pass with a little help from the goon's ambitious wife...
I'm sure it sounded like a good idea at the time (still does, actually) but this underworld updating of Shakespeare's MACBETH was criminal in more ways than one and reminded me of those "Classics Illustrated" comics I had as a kid. "Simple" sums it up and a too-old Paul Douglas hammed it up shamelessly, coming off more like "Curly" from THE THREE STOOGES than the Bard's vacillating thane. The idea that the Chicago syndicate (at least I think that's what it was since I heard "the Detroit mob is moving in" at one point) could bump each other off left and right with impunity was only one of the film's many preposterous conceits but this low budget Brit noir (a Columbia picture filmed at Shepperton Studios) still had its moments, nonetheless, albeit few and far between.
The classic tale's all there from "Banky"s ghost to the damned spot on Lady, er Lily, Macbeth's hands trotted out in "Cliff's Notes For Dummies" fashion and Ruth Roman as the power behind the crime kingpin's throne was, well, Ruth Roman. She's like Arlene Dahl, Faith Domergue, Rhonda Fleming, Debra Paget, and a host of others from that era: they knew their lines and didn't bump into the furniture but their acting rarely rose above "competent". "Decorative" was the operative word for these gals and most faded away once their looks went but Ruth actually made a pretty good character actress later on in her career. I understand an underworld-set MACBETH was tried again with MEN OF RESPECT in 1990 and it's gotta be better than this.
I'm sure it sounded like a good idea at the time (still does, actually) but this underworld updating of Shakespeare's MACBETH was criminal in more ways than one and reminded me of those "Classics Illustrated" comics I had as a kid. "Simple" sums it up and a too-old Paul Douglas hammed it up shamelessly, coming off more like "Curly" from THE THREE STOOGES than the Bard's vacillating thane. The idea that the Chicago syndicate (at least I think that's what it was since I heard "the Detroit mob is moving in" at one point) could bump each other off left and right with impunity was only one of the film's many preposterous conceits but this low budget Brit noir (a Columbia picture filmed at Shepperton Studios) still had its moments, nonetheless, albeit few and far between.
The classic tale's all there from "Banky"s ghost to the damned spot on Lady, er Lily, Macbeth's hands trotted out in "Cliff's Notes For Dummies" fashion and Ruth Roman as the power behind the crime kingpin's throne was, well, Ruth Roman. She's like Arlene Dahl, Faith Domergue, Rhonda Fleming, Debra Paget, and a host of others from that era: they knew their lines and didn't bump into the furniture but their acting rarely rose above "competent". "Decorative" was the operative word for these gals and most faded away once their looks went but Ruth actually made a pretty good character actress later on in her career. I understand an underworld-set MACBETH was tried again with MEN OF RESPECT in 1990 and it's gotta be better than this.
Mobster Joe "Mac" MacBeth (Paul Douglas) kills the second in command for his boss "Duke" Duca. He marries Lily (Ruth Roman) who is anything but an angel. She keeps pushing him and pushing him to rise up in the organization. He is given a mansion and a new job. Fortune teller Rosie gives him his fortune.
This is inspired by William Shakespeare's MacBeth. I spent most of the movie trying to remember my high school Shakespeare. I remember the trees marching on his castle as part of the prophecy. Maybe the movie could do more with the prophecies. There are some delicious moments. I love our first scene with Lily. I would like her role to be younger. That would make the juxtaposition of her supposed innocent age and her ruthlessness more interesting. I love the food loving mobster. It's too bad that he gets killed so quickly. Maybe a switcheroo would be in order. All in all, I like the idea of a MacBeth gangster although it could be more Shakespearian in some ways.
This is inspired by William Shakespeare's MacBeth. I spent most of the movie trying to remember my high school Shakespeare. I remember the trees marching on his castle as part of the prophecy. Maybe the movie could do more with the prophecies. There are some delicious moments. I love our first scene with Lily. I would like her role to be younger. That would make the juxtaposition of her supposed innocent age and her ruthlessness more interesting. I love the food loving mobster. It's too bad that he gets killed so quickly. Maybe a switcheroo would be in order. All in all, I like the idea of a MacBeth gangster although it could be more Shakespearian in some ways.
Before his befuddled attempt to rework Shakespeare's tragedy into an urban mob movie, Philip Yordan had more than an honorable career as a screenwriter: When Strangers Marry, Whistle Stop, Suspense, The Chase, Reign of Terror, Edge of Doom, Detective Story, Johnny Guitar, The Big Combo (to cite only titles in or near the noir cycle). Perhaps Joe Macbeth's production in the United Kingdom proved the impetus for its being adapted from the ill-starred 'Scottish play,' adding one more element originating in Great Britain to satisfy all the codicils in the deal. But Yordan's writing is far from the major shortcoming in a movie that, despite occasional spurts of interest, falls short of satisfying.
For starters, it's hard to buy the usually sympathetic Paul Douglas as a plausible pretender to the throne, even a weak-kneed and vacillating one (Douglas was nearing 50 as well as the end of his life at the time). True, his striking at the king is prompted (if not prodded) by his ambitious wife Ruth Roman, here steely and matronly (she was a sadly underused actress). But both are upstaged by Bonar Colleano as a smoldering agent of revenge and retribution in much too underdeveloped a role.
Then, the milieu, which seems to be New York City and an estate on Long Island, strikes an inauthentic note, having been filmed on sound stages across the big pond (the street scenes are shabbily Victorian rather than raffishly New World). In a genre where atmosphere ought to be preeminent, Joe Macbeth stays imprecise and generic.
Last, the direction fell to the workmanlike Ken Hughes, who had some experience in British suspense thrillers, including some that might now be termed 'Britnoir:' The House Across The Lake and The Long Haul are two of the more notable of them. But he really doesn't have much to bring to the party, and once or twice stoops to low-comedy touches grindingly at odds with the tone of the movie.
The most arresting aspect of Joe Macbeth (and aspect, alas, which becomes an albatross), is a misguided fealty to the Bard of Avon. Lest anyone overlook its Elizabethan pedigree, Joe Macbeth piles on the homages. Banquo becomes 'Banky' (the ever watchable Sid James) and MacDuff 'Duffy;' the three witches are downsized to one, a has-been actress reduced to telling Tarot cards (Minerva Pious, in a delightful turn; her cauldron becomes a kettle where she boils chestnuts on a pushcart); we even have Roman doing the 'Out, damned spot' scene (luckily, Douglas was spared 'Tomorrow and tomorrow and tomorrow'). The trouble is, when you start noticing all the literary allusions and waiting for the next one to pop up, the movie you're watching has ceased to engage you on its own terms. Nice try, but no cigar.
For starters, it's hard to buy the usually sympathetic Paul Douglas as a plausible pretender to the throne, even a weak-kneed and vacillating one (Douglas was nearing 50 as well as the end of his life at the time). True, his striking at the king is prompted (if not prodded) by his ambitious wife Ruth Roman, here steely and matronly (she was a sadly underused actress). But both are upstaged by Bonar Colleano as a smoldering agent of revenge and retribution in much too underdeveloped a role.
Then, the milieu, which seems to be New York City and an estate on Long Island, strikes an inauthentic note, having been filmed on sound stages across the big pond (the street scenes are shabbily Victorian rather than raffishly New World). In a genre where atmosphere ought to be preeminent, Joe Macbeth stays imprecise and generic.
Last, the direction fell to the workmanlike Ken Hughes, who had some experience in British suspense thrillers, including some that might now be termed 'Britnoir:' The House Across The Lake and The Long Haul are two of the more notable of them. But he really doesn't have much to bring to the party, and once or twice stoops to low-comedy touches grindingly at odds with the tone of the movie.
The most arresting aspect of Joe Macbeth (and aspect, alas, which becomes an albatross), is a misguided fealty to the Bard of Avon. Lest anyone overlook its Elizabethan pedigree, Joe Macbeth piles on the homages. Banquo becomes 'Banky' (the ever watchable Sid James) and MacDuff 'Duffy;' the three witches are downsized to one, a has-been actress reduced to telling Tarot cards (Minerva Pious, in a delightful turn; her cauldron becomes a kettle where she boils chestnuts on a pushcart); we even have Roman doing the 'Out, damned spot' scene (luckily, Douglas was spared 'Tomorrow and tomorrow and tomorrow'). The trouble is, when you start noticing all the literary allusions and waiting for the next one to pop up, the movie you're watching has ceased to engage you on its own terms. Nice try, but no cigar.
I have always confounded this film with Russel Rouse's NEW YORK CONFIDENTIAL; I don't know why, maybe because plots are rather close and because I have always also confounded Paul Douglas - here - and Broderick Crawford - NEW YORK CONFIDENTIAL; both actors had more or less the same kind of face and played the same kind of characters too. So this explains that. This Ken Hughes' film is excellent, a gritty, violent crime movie, the rise and fall scheme concerning a ruthless and ambitious gangster and his moll. I would have never imagined Paul Douglas in such a role, and Ruth Roman is excellent in his gun moll role. Best film from Ken Hughes, besides CROMWELL.
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- TriviaDirector Ken Hughes later said he "enjoyed" making the film. "I was terribly young, only 22. The cheek I had to be directing old timers like Paul Douglas and Richard Conte (whom he directed in Little Red Monkey (1955)). Still, I think they liked that and I tried never to be arrogant. And it was one of the few scripts I picked up in my life that didn't require a great deal of work."
- Citas
Big Dutch: Here, have an oyster.
Joe Macbeth: I never use 'em.
- ConexionesReferenced in The Dame Wore Tweed (2022)
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Detalles
- Tiempo de ejecución1 hora 30 minutos
- Color
- Relación de aspecto
- 1.37 : 1
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By what name was Joe Macbeth (1955) officially released in India in English?
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