La tragedia de Macbeth

I had bought two versions of Macbeth (Roman Polanski's and Orson's )after successfully toiling with the Arden texts for a couple of weeks, I had pictured in my mind's eye what what might be an adequate visual interpretation of the ambitious king and nagging wife etc... However 'interpretation' is the key to viewing any filmed Shakespeare, For a start on the Imbd there are easily over 20 versions, and with 'Orson Welles MacBeth' an 'interpretation' is certainly what you get.

The radical physical setting of this screen version (amongst random ragged rocks in the 'Highlands') indeed evokes a sense of a rustic kingdom in early Y1K, lit by burning broom and men toiling and dying at every available nook and cranny in the rock. Typically, the actors (particularly Welles) address the rhetoric with the Scotch accent which has never been indigenously heard in Scotland (think of Disney's 'Scrooge McDuck' or The Terrier 'Mac' in 'Lady and the Tramp'). Oral issues aside, MacBeth, after slaying Duncan, patrols his new house with a sort of upside down stool on his head with the legs sharpened to a point, and issues decrees from a throne in a type of indoor tent. One point about the play in general is the fact that he murders at least 4 people and only one of their spirits can be bothered to haunt the obsessed tyrant (Banquo visits mid Banquet)?

When you see this version of MacBeth, bear in mind Welles' brave and original touch to the highly worked text. The atmosphere is unique, rich with darkness and a kind of fear. Settings are perfectly lit for their purpose, and reliably Welles is always the man capable for for the titular role.

I had intended to return at least one of the videos, I think I will keep both, just to remind me how good each of them are.

(Incidently, I am writing from the town in the north of Scotland where Duncans Castle is located in the text : How far is it called to FORRES?, On old maps of the town there was a site 'ruin of Duncan's castle' now known as 'Castle Hill' was this the place where Macbeth strutted with the stool on his head?)

Welles has created a unique interpretation of Macbeth with this film. It is very dark - literally so since almost the entire film takes place at night and the fog machines were cranked up pretty high for a lot of the scenes. Perhaps this darkness befits the mood of the story, but I began to feel oppressed by it. All the running about in ill-lighted cavernous hallways produced a claustrophobic effect.

Welles emphasizes Macbeth's ambivalence in acting on his ambitions and his anguish in having done so. The influence of Lady Macbeth is particularly accentuated; in the scene where Macbeth is wavering about killing the King, Lady Macbeth effectively challenges his manhood over any thoughts of failure to do the job. Wells is effective in delivering the voiced-over soliloquies and in developing Macbeth as a tortured brooder. Jeanette Nolan as Lady Macbeth is less successful than Welles - her "Out damned spot" scene was way over the top. It was fun to see a twenty-year-old Roddy McDowall playing Malcomb.

While there are some cinematic elements, like the escape of Fleance on horseback and the approach of Macduff and the English armies at the end, this is essentially the filming of a play. There are some interesting sets and lighting details, but there are also some cheesy sets and effects. The costumes look like they came out of some Viking movie and Macbeth's crown has all the appearance of having been fashioned for a junior high school play.

The musical score (by Jacques Ibert no less) is generic and frequently overbearing.

Going into this cold without having read the play or seen another production could be tough sledding.

Kurosawa took a lot from this Macbeth for his 1957 interpretation in "Throne of Blood." His Birnam wood scenes are almost identical to Welles'. For a more complete and accessible Macbeth, see Polanski's 1971 film. It would be interesting to see what Welles would have come up with if he had been turned loose on this with a big budget and no time constraints.

In Scotland, Macbeth is a honored nobleman, who listens to the prophecies of three witches: he would become a duke, and later the king of Scotland. Immediately after the information, he is declared to duke by the king. His wife Lady Macbeth and him plot against the king and decide to stab him in the night, blaming his servants. After the death of the king, Macbeth is proclaimed king and can not sleep anymore. Then, guided by his greed and madness, starts killing everybody he thinks may be a menace to him, believing in his interpretation of the prophecies. I am not a great fan of Shakespeare's vocabulary, too much refined and difficult to be understood by a person that is not native in English, but this theatrical version of Macbeth is a great movie. The gothic scenario and the black and white photography are very impressive, as well as the performance of Orson Welles. My vote is eight.

Title (Brazil): `Macbeth Reinado de Sangue' (`Macbeth Kingdom of Blood')

This 40s Macbeth is a Shakespeare adaptation with mixed results, created by and starring Orson Welles and released through Poverty Row studio Republic. The costumes are Scandinavian but the accents are definitely Scottish.

Welles is good as the Thane who becomes a king-killer and a tyrant, while Jeanette Nolan appears as the scheming Lady Macbeth. Roddy McDowell is a delicate Malcolm, while Erskine Sanford is Duncan.

The mood of the film is dark, drenched in fog, but the way it is filmed is pure cinema, giving the text new life. There would be better Macbeths but this one is certainly memorable and effective. Welles would go on to tackle Othello and Henry IV (as Chimes at Midnight).

While Olivier was making his mark as a Shakespearian actor/director in British film, Welles was certainly doing the same in the USA. This film stands for all the work which he started and never finished, and is a good example of what he could achieve when at his best.

Orson Welles's version of "Macbeth" makes a dark play even darker. Welles always has his own particular take on everything, and while this is an imperfect movie, it is certainly interesting.

The most noticeable feature of this adaptation is how dark everything is. Almost every scene and every set has barely enough light to let us see what is happening, accentuating the cheerless nature of the plot itself. Sometimes this is effective, but at other times it might have been better to give the viewer a break from the gloom, and to put the focus more on the characters and a little less on the atmosphere.

Macbeth the character is portrayed here in a rather different light than usual. He comes across as rather helpless and not in control of his fate, instead of as the usual stronger Shakespearean tragic hero whose strength is undone by his own tragic flaw. While the three witches seem more in control of the action than does Macbeth himself, most of the apparitions they create are not shown, with the focus being more on Macbeth's reaction. The text itself is also quite different in places, with some lines being switched to new or different characters, and many scenes re-arranged. In all of these respects, viewers will have varying opinions as to how well these decisions work.

While the result is certainly not a masterpiece like some of Welles' other films, his creative influence is clear throughout. Welles fans and Shakespeare fans should definitely see this adaptation and decide for themselves.