Joe Macbeth

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.

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!!

In this British made crime thriller the makers attempt to apply pedigree with an updated version of Shakespeare's Macbeth but from the outset it becomes clear that this dog does not hunt. Working with a bare bones outline the the film for the most part relates in name only.

Joe Macbeth (Paul Douglas) is a respected strong arm man for "Kingpin" Lennie, more than happy with his situation. Wife Lily (Ruth Roman) is ambitious however and she begins to hector Joe about moving on up which would entail removing Lennie in a permanent sort of way. Joe vacillates but Lily remains steadfast.

The possibilities are plentiful with this modern day version of one of Shakespeares most accessible plays but more than likely due to budget and time the makers of the film never even attempts to elevate Bill's words; a bit galling given he's a hometown boy. Director Hughes is either too clueless or lazy to hone scenes into a decent hybrid. If we need further proof just look to his abysmal leads as mouthpieces. Bombastic likable lug Douglas is too soft from the outset and his descent into paranoia shrill. Roman's Lady M shows some early promise as she slaps Joe into line on her wedding day for running late from a whack but director Hughes doesn't seem to want to trust her with more than a sentence or two at a time and Roman who has the look and cynicism in her voice never gets a chance to deliver the memorable lines of as good a female character you would find in all of drama.

Mac does have an imaginative moment or two with a flower hag representing the three witches and a smug butler making short work of the gatekeeper scene to go along with a cold offing of the "Kingpin" as well as Ms. Macbeth's exit but overall given the original material and its author this film is not only bad it insults English Literature along the way.

A tightly plotted noir based on one of the most tightly plotted of all of Shakespeare's plays. Joe MacBeth is a hit man for the mob, mean and ruthless and not only good at what he does--very good--but also perfectly content with where his skills have taken him; his ambitious young wife is the voice in his ear, urging him to claw his way higher, all the way to the top if possible, and by any means necessary--including murder. Paul Douglas is a big, intimidating bear of a man, all business all the time; a young Ruth Roman--gorgeous, interesting as always, and costumed in a whole slew of eye-catching gowns--is his won't-take-no-for-an-answer bride. Great performances all around, including from as impressive a gaggle of tough guy types as the movies have ever seen. A "Godfather" for its time, pared down, amped up, and without all the bells and whistles--that still works today. One of the best gangster films ever made. See it.

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.