Macbeth

A truly unique version of Macbeth, with fantastic performances from Sean Pertwee, Greta Scachi, Michael Maloney and Jack Davenport. This movie succeeds where other recent Shakespearean movies fail. This movie has great casting, very intresting settings......very well updated. Definatly ranks up there with even Trevor Nunn's Macbeth. Go out and rent it today!

Greta Scacchi is a great favorite of mine. So is Shakespeare. So when I discovered that she had done a Macbeth, I immediately ordered the DVD (which was a double feature, also containing a thoroughly marvelous 2003 version of Twelfth Night, which made it plentily worth the price of admission). Unfortunately, this Macbeth was a disappointment. Greta Scacchi herself was good; absolutely the best thing about it. She spoke the words with more confidence and ease than the other cast members, and you have to bow down in awe and reverence to an actress who can deliver "He that's coming must be provided for: and you shall put this night's great business into my dispatch; which shall to all our nights and days to come give solely sovereign sway and masterdom" with complete naturality and without pausing to breathe! Whoa!

However, the remaining cast, and the no-budget modern setting, clearly derivative of Loncraine's Richard III (and perhaps a bit of Luhrmann's R+J), were utterly colorless and unconvincing. Now, I have always liked Sean Pertwee. I consider him a serious and intense actor whose screen presence I am frequently very comfortable with. But not here. He wasn't terrible, but he certainly wasn't anything to write home about, either. Maybe it was the silly goggles.

Of the rest of the cast, none distinguished themselves except for Lady Macduff, played by Ruth Gemmel. Her attractiveness is probably part of the reason I responded especially to her, but her delivery was also good.

All right, I understand this production was made for school purposes. I don't think that excuses its dullness. If some people enjoy it, and can get into Shakespeare because of it, that's great. I don't think it would have worked on me when I was in school, though, and if I were a teacher I would think twice about using this. The production is charismaless, and there isn't much acting going on. To engage students, I'd pick Shakespeare movies like Much Ado About Nothing, Romeo+Juliet or, if it has to be Macbeth, the Ian McKellen/Judi Dench version. Or, frankly, any other version besides this one.

This Macbeth reminds me enormously of the 1992 version of As You Like It, which is equally modern, bleak and, as I see it, uninspired (I rated it a 4 out of 10). You'd almost think they were made by the same person. But in Macbeth, we at least have the gorgeous, capable Greta to shine in the surrounding darkness.

Judged by the standard of Shakespeare movies in general, this movie is hard put to even approach mediocrity. But, because of Greta's performance, I will be kind and call it average.

My rating of this rather paltry Macbeth, thusly, is a just 5 out of 10.

Very disappointing. Pertwee is an offhand kind of Macbeth, with little acting, gestural, or vocal range. The director managed to cut or truncate some of the best verbal/poetic phrases/lines -- a flabbergasting disrespect for Shakespeare. If you want to do a play roughly related to Macbeth, do it, but don't call it a version of Shakespeare. This was simply a very bad version; it might have worked as an adaptation, completely reworked.. Lady Macbeth was better than most of the others, but almost everything else in the production was inferior. One of the worst things was the omission or eviscerating of key elements in the play -- e.g., the Porter's scene, which is almost completely cut, and Macduff's big scene in Act IV. In the interview between Macduff and Malcolm, Malcolm is totally unconvincing either when he is feeding Macduff his stupid stories about his vices or when he's proclaiming his actual innocence; one could easily think that he's pretending. Macduff is denied some of the most crucial lines in the play, when he learns of the slaughter of his wife and children. All in all, this is an insult to Shakespeare's play.

For as well established and highly esteemed as the Scottish play is, it presents a double-edged sword for filmmakers who would seek to adapt it. On the one hand, at least part of the work is already done; unless one is presenting some radical new vision, the groundwork is already laid in for the dialogue, characters, scene writing, and narrative, and unless one is changing the setting, one also has the foundations for the filming locations, sets, costume design, props, and weapons. On the other hand, since viewers are also already familiar with the source material and any number of renditions, we may be more prone to seeing faults in a new version, and a filmmaker surely needs to have something special in mind for their treatment in order for it to really stand out and capture the imagination in the first place. And of course, as filmmaker Michael Bogdanov has indeed updated the setting, he adds to the possibly self-injurious edge of that blade with the question of whether the new style of visuals serves the story of the classic, or supersedes and overwhelms it. To that latter point, I do think Bogdanov is playing with fire as we're treated to sights of urban decay, working class surroundings and impoverishment that equally suggests "present-day war zone" and "post-apocalyptic ruin"; to these add instances of computer-generated imagery, and of electronic music in the score. By no means is any of this to dismiss out of hand this 1998 iteration of 'Macbeth,' but the new look and feel is decidedly jarring at first, and viewers who are unprepared, or not receptive, will have a hard time sitting with the filmmaker's creation.

Happily, however, as the tale picks up the ornamentation for this adaptation settles into the background a bit to become flavoring, and the substance of the endeavor remains foremost. The sets, filming locations, and costume design are all terrific to begin with and can claim their own measure of bedazzlement, and furthermore are arguably even kind of brilliant in how they work to partially reconfigure William Shakespeare's timeless play. Otherwise, all that we hope for out of the tale - a spectacle of ambition, prophecy, conspiracy, murder, and madness - is exactly what we get. Why, the saga is one of fiery passion and strong emotions as much as violence, and in terms of the ferocity of the telling, and the necessary strength of the acting and direction to enable, cement, and anchor that ardor, I'm firmly of the mind that Bogdanov's 'Macbeth' is unquestionably much better than some other adaptations I've seen. The Bard provided the fuel, the actors set it ablaze, and the director guides the path of the conflagration, and I'm glad to say that the latter two parties are resolute and admirable in the skills that they bring to the production. Say what one will about the shift in setting and the embellishments that complement it, but the cast is excellent from one to the next, down to the smaller supporting parts; it goes without saying that Sean Pertwee and Greta Scacchi stand out most as both ably embrace the zealous swirl of complicated emotions represented in Lord and Lady Macbeth. Emphasizing the point: between the stars' performances and Bogdanov's guidance, big scenes like the banquet of Act III, and the Lady's big moment at the start of Act V, are absolutely superior as realized here to what some other versions have given us (albeit, not the superlative in my opinion), and there's no doubt in my mind that this TV movie stands as a fine credit to all.

True, there are distinct issues here that do hold it back in some capacity. I won't critique the choice to reduce or omit some inessential lines or scenes, for that is the nature of adaptation; on the other hand, it does seem at times that the pacing is a tad overly brisk or forced, diminishing the impact of a moment as it is not allowed to manifest, breathe, and resolve of its own accord. It seems altogether inappropriate that any cinematic treatment of 'Macbeth' should clock in at a mere ninety minutes, or less. Some odds and ends come off better than others, and none are more dubious than when the modern dressings are allowed to be especially prominent. The electronic beats in the music grow tiresome quickly, for example, and in the last stretch just as much as in the first, the changed setting, as brought to bear in the costume design, vehicles, weapons, filming locations, and effects, threatens to overtake the storytelling. Likewise, as action kicks off in Act V, even Tony Coldwell's cinematography - commendable in and of itself - follows the ethos of contemporary action-thrillers as the camera freely and spiritedly zooms, runs, and revolves, and again the presentation somewhat tramples the plot. Last but not least, though the usage is restricted to only a select few elements, the CGI we see here ranges from "not so great" to "awful"; as Macbeth revisits the weird sisters at the beginning of Act IV, one is painfully reminded of the climax of the 1997 'Spawn' comic book flick as the digital wizardry effectively looks outdated even for the year in which it was created. None of these facets are so severe as to wholly dampen the viewing experience, but one's favor is definitely tempered.

And still, while imperfect, overall I'm pleasantly surprised by just how good this turned out to be. It has its troubles, certainly, and I believe these stem from Bogdanov's reimagining - for the most part swell, or even splendid, the doing becomes a liability at some unfortunate points. The core of the feature is solid, however, and there's a potency in these ninety minutes that exceeds what some more well known iterations have offered. Even at its best I wouldn't go so far as to say that this 'Macbeth' is one that demands viewership; unless one is a huge fan of someone involved, or intent on soaking up as much of the play on film as one can, it isn't a must-see. Yet though it's rough around the edges, I'm chuffed that the end result is so well done and enjoyable, and provided one is open to the alterations, I'd have no qualms in recommending it to just about anyone. You don't need to go out of your way to see this 1998 picture, and there are some among its kin that I hold in higher regard, but if you do have the opportunity to watch then it's worth checking out.

This bare-bones and inspired version of 'Macbeth' appeared on Channel 4 Schools programming in instalments before being shown in its entirety for a wider audience. Michael Bogdanov's film puts the action strictly in the here and now, in the rough and violent world of an apocalyptic estate, with Macbeth himself as an unrepentant maniac heading straight for hell.

Macbeth is perhaps the best Shakespeare play to give a shot in the arm - its the shortest and perhaps the easiest of the tragedies to manipulate any which way you choose. So this version works completely in what it intends to do, i.e. speak to a younger audience and flip this play on its head.

Macbeth and Lady Macbeth are admirably played by Sean Pertwee and Greta Scacchi, while others making a strong impression in the cast include Philip Madoc as Duncan, Michael Maloney as Banquo, and Lorcan Cranitch. Fans of the UK series 'Coupling' can see Jack Davenport and Richard Coyle in there too, alongside 'Birds of a Feather' star Lesley Joseph as one of the witches.