Macbeth

 
1971

Dir: Roman Polanski

When it comes to the works of William Shakespeare, there isn’t a grimier, dirtier, more disturbing world than the one depicted in Macbeth. It might not have the same mortality rate as other plays such as Hamlet or Henry V, but there is just something so psychologically, skin-scrapingly wicked about ‘The Scottish Play’ that it sends a shiver right down your spine. Who better than Roman Polanski then to bring this bloody tale to the silver screen?

The plot, as if you needed telling, revolves around titular hero Macbeth, who, fresh off vanquishing the villainous and treacherous Thane of Cawdor on behalf of King Duncan, encounters a trio of weird sisters, who greet him first as Thane of Cawdor, and then as the future King, as well as promising his companion, Banquo, that many future kings will come from him. Soon, greed, envy, jealously, paranoia, fear, and the sweet whisperings of his wife all work to drive Macbeth from hero to one of the most despicable villains in fictional history.

Though not quite as essential as theatrical performances, the actors are still key within Polanski’s interpretation of The Bard’s darkest tale. While Jon Finch is note perfect as the initially reluctant, yet ultimately sadistic Macbeth, Francesca Annis is miscast as his wife. Lady Macbeth is thought by many to rival the likes of Macbeth, and even Othello’s Iago for the title of Shakespeare’s greatest villain, given the ease with which she goes from loving wife to plotting murderer, manipulating her impressionable husband at every turn. Other than being quite the looker, Annis never makes you believe that she holds such power over her lover. She looks more suited to the role of Desdemona or Ophelia given her youth; but that could be seen as an intentional ploy in order to make it believable that everyone would, foolishly, trust this female serpent due to her girlish beauty. That would almost make it forgivable if it wasn’t for Annis’ failure on the actual delivery. I’ve seen this film each time with my father, an English teacher, who has read Macbeth and seen more adaptations of it than anyone in the history of the world. He absolutely loves it to death. He can quote entire passages. Yet he shares my feelings about Annis’ portrayal of Lady Macbeth. Her delivery is rushed, almost frightened; not the cool, calm, calculating malice that we are used to.

Finch, on the other hand, grows into his role as the film goes on. Polanski’s decision to have the famous soliloquies as inner monologues rather than external speeches does not hinder the effect at all, mainly thanks to Finch’s facial work. The fear we see in him as he waits outside Duncan’s bedchamber is wonderful, and it helps that Gil Taylor’s magnificent cinematography plunges his face in and out of shadow with all the subtlety of a John Carpenter horror. Never has Scotland looked more grey and bleak and downright turgid than this. And you know what? It’s never looked better.

I find myself speaking about post-Apocalyptic landscapes a lot in this blog, but when it’s done right, it doesn’t half improve the atmosphere of the film. Polanski and Taylor have nailed it here. It almost feels as though you are watching through a cloudy glass. The opening scenes on the beach set the tone perfectly for what is to come. Compared to other Shakespearean adaptations, this is about as far from the sunny Venetian beaches of Baz Luhrmann’s Romeo + Juliet as you can get, and much nastier than other dark renditions, such as Franco Zeffirelli’s Hamlet and Oliver Parker’s Othello.

The Third Ear Band’s weird and wonderful soundtrack is the perfect accompaniment to such a menacing movie as this. When all of your senses are being told that something strange is going on, soon enough your brain is going to start believing it too.

**** / *****

"Is this a great film which I see before me?"