Macbeth

This is a trimmed-down version of Macbeth (running at less than 1.5 hours) presented by a group of lesser-known but extremely competent actors. The cuts mean that the action is fast-paced with little chance to breathe.

The setting is modern-ish and slightly surreal and surprisingly sunny and bright for this usually dark and murky play. Even the garbage dump which represents the "heath" where the witches hang out is set amid green fields and a placid lake.

On the upside is the performance of Greta Scacchi who is a frighteningly intent and edgy Lady M. The scenes between the Macbeths are breathtaking: her energy seems to infuse Pertwee who is subdued without her.

On the downside, Pertwee cannot get past a kind of manic anger in the final scenes. There is no sense that Macbeth realizes the depth to which he has sunk, that his soul is irredeemably compromised. In the end he should be like the figures in Michaelangelo's Last Judgement, being dragged to Hell while realizing what they have lost and cannot now get back. Pertwee's Macbeth keeps on heading straight for Hell as fast as he can get there. In the end we experience no regret or sense of tragedy in his demise.

Notwithstanding this flaw, this is a gripping and watchable film which is well worth the effort.

Don't look for Renaissance conventions here -- no swords, no head-on-a-pike at the end, no evil Lady Macbeth. The witches are true to the bard -- wither'd, wild, familiar enough to make them approachable, strange enough to make you wonder if you saw what you saw. I like Pertwee's Macbeth - even though I wanted more dogged intensity and 'aw-the-hell-with-it' doomed bravado. Scacchi is perfect as Lady Macbeth -- all blind Blond Ambition who, ironically, becomes sapped by constant blood-drenching (and they're they same blood-drenching that put that damned spine into Macbeth as the end draws near). Could have used a stronger Macduff -- I dunno, just call me a sentimentalist; I wanted to see that tough man reduced to tears.

All in all, a fine version -- much less silly than the Polanski tommyrot that so many people hold up as the ideal film of this play. I don't think that the definitive film version has been been made yet. Until then, this bare bones approach is best.

I saw this version of Macbeth in an interesting format. Someone took this movie and broke it up into chunks of about 15 or 20 minutes for use in the classroom. And I couldn't think of a better version for that purpose.

Though clearly of modest budget, it is not cheap. Rather it skillfully uses available resources to create a stark, clear (and trimmed down) production. It does this by being strangely, yet coherently, anachronistic. The nature of the characters and the scenes determine the prevailing time period of the props, costumes and setting; so they are more than mere set dressing and non-verbally communicate information about who the characters are. Usurper Macbeth never rises above his castle in an abandoned factory, which contrasts with the elegance of the rightful heir Malcolm's pristine English manor.

The delineations aren't strict... the witches' Mad Max post-apocalyptic world sits in the midst of contemporary warfare. The banquet shows Macbeth's futile attempt at legitimacy in a clash of period and style. But rather than creating chaos, this mixing keeps the characters visually consistent throughout the production.

The performances are excellent, but not outstanding, and fall into the standard British Shakespearean rhythms which can take some acclimatization for people not accustomed to it. But the acting fits the context of the setting while staying true to Shakespeare. Though not a definitive Macbeth, it is one I can watch with pleasure whenever the local public broadcasting channel broadcasts it as a teacher's resource. And I wouldn't mind having the complete version without the breaks.

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.

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!