Macbeth

Although this is a rather dark film, Macbeth was written as a dark play and therefore is very fitting.

The way that this film was done reflects the difficulties of converting a successful and ageless stage production into a filmic production. It is filmed and acted in a way that expresses the actors' stage presence and ability while exercising the many capacities that cameras have.

It is worth watching. I have had to view many different versions of Macbeth for many classes in the general ed and collegiate levels and this version does justice to the original text and to the stage origins of the play.

Jane Lapotaire is a superb Lady Macbeth, as those who've seen her on stage would expect. Although the jury is often out on Nicol Williamson's acting in anything, I think he is brilliant in this - particularly in the banquet scene where Banquo's ghost returns. I'd probably bracket him with Ian McKellen when it comes to TV movie portrayals of what is essentially the portrait of a usurper gone mad.

It has to be said though that the towering presence of these two actors somewhat overshadow the others in the cast. Special mention must go to Ian Hogg as Banquo, and the late Tony Doyle as Macduff, however, as they are both excellent.

Jack Gold's production looks done either on the cheap, or in a minimalist way (or both!) but that would be my only quibble. This is my favourite of the BBC Shakespeares. Let's hope the whole series of them will be made available on video or DVD widely in the UK again soon.

Though Nicol Williamson performs outstandingly in quite a few scenes, his overall performance is somewhat uneven. Much of the time he delivers his lines with brio or with subtle astuteness, but he occasionally comes across as disengaged and bored. Especially disappointing is his delivery of the great "Tomorrow, and tomorrow, and tomorrow" soliloquy. It is indeed, the worst rendition that I have ever beheld. Perhaps Williamson was seeking to convey Macbeth's ennui through his lackluster recitation of the soliloquy, but it falls badly flat.

Jane Lapotaire is excellent in her opening scene and in her final scene, but somewhat less impressive in the intervening scenes (especially in the scene with Banquo's ghost). She pretty badly misjudges a few of her lines, and she is too highstrung. Still, her overall performance is at a high level.

Tony Doyle is generally excellent as Macduff, and James Hazeldine is quite good in the difficult role of Malcolm. James Bolam is considerably less entertaining as the porter in this production than as Touchstone in "As You Like It" (though the fault may lie with Shakespeare more than with the actor).

Most of the other performances are pretty good, though there are quite a few other instances of misjudged renderings of lines. The sets and lighting are fine, and the production is to be commended for including most of the text. (The spurious III.v and the spurious bits of IV.i are of course omitted, as is the paean to Edward the Confessor in V.iii. Only a handful of other lines are omitted -- though I should note that all of those remaining omissions are gratuitous.) There are some pointless rearrangements of the text, but they are not confusing.

There are several directorial oddities, of which I will mention two here. First, in the third scene -- where Macbeth and Banquo encounter the witches -- the witches simply amble away after they have delivered their prophecies to Macbeth and Banquo. Contrary to what Macbeth and Banquo declare, the witches do not suddenly vanish. Given that the sudden disappearance could have been effected easily in a production made for television, the directorial decision to have the witches simply walk away is strange indeed. Second, during the scene with Banquo's ghost, there are two empty chairs rather than only one. There is the empty chair across from Macbeth, where Banquo's ghost appears. Clumsily, however, there is another empty chair at the very part of the table where Macbeth is standing. Quite unclear is why the director included that second empty chair, especially given that its position makes rather ludicrous Macbeth's question about the location of a vacant seat.

In short, this production is well worth watching even though it is marred by some shortcomings.

Although there are a number of flaws in this production of Macbeth, it is worth viewing for several reasons. First, Nicol Williamson, though he fails to make this Macbeth work completely, is always interesting; probably, this is due to his intelligence. One can always see what he is getting at, even when he fails to get there or when we disagree with his interpretation (and I disagree with much of this one -- especially the "Tomorrow and tomorrow" sequence). The gradual shift from a heroic, conscience-concerned warrior to a cold-blooded and ruthless tyrant is clear if not always heartfelt.

Second, most of the text is clear and unadulterated (some minor changes, including the happy cutting of the Hecuba scenes, which are not by Shakespeare anyway, actually help move the play along). The cast and director have worked so carefully to illuminate the text, characters, and situations that this particular version might be the best choice for school use.

Finally, Jane Lapotaire gives a brilliant tour-de-force performance as Lady Macbeth. For one thing, she is sexy, which apparently some reviewers seem to find objectionable, but which is quite accurate for Lady M. Why else would she have to call on the powers of evil to "unsex" her? Also, she is clearly in love with her husband and not with her own ambitions. It is imperative in any production of Macbeth that the marriage is based in love and devotion; otherwise, the tragedy is lost! When this Lady Macbeth tries to calm her manic husband during the banquet scene, we can feel her anguish over the loss of their former relationship (and her part in causing it), anguish that easily turns to madness the next time we see her. The sleepwalking scene is beautifully built by re-living not only the text, but the actions of the Act 2 murder of King Duncan and its effects on the Macbeths. Lapotaire is one of the great post WWII actresses, trained in the great British tradition, and her presence in this production makes the viewing worthwhile in itself.

Don't miss it!

I actually prefer Nicol Williamson's Macbeth to Sir Ian McKellen. He is far more believable in the role. I believe Williamson to be one of the better Shakespearean actors. Even Jane Lapotaire's Lady Macbeth is better than Dame Judi Dench's performance. Perhaps Dench and McKellen just lacked the physical chemistry Williamson and Lapotaire appear more likable to me. I believe them more as a couple. While I enjoy all the actors mentioned above, this version is more than just a stage version. There is no audience. The costumes and art direction could be better overall. Still the BBC kept true to William Shakespeare's words. This version could do well in high school classrooms since this play is part of the curriculum. I prefer this version overall to the recorded Stratford version. If I had to choose between this version and Roman Polanski's film for the classroom viewing experience, I would take this version because it is more faithful overall.