Macbeth (1971 film)

Macbeth
File:141897.1010.A.jpg original movie poster
Directed by	Roman Polanski
Written by	William Shakespeare (play) Roman Polanski Kenneth Tynan
Produced by	Andrew Braunsberg Hugh M. Hefner Victor Lownes
Starring	Jon Finch Francesca Annis
Distributed by	Columbia Pictures
Release dates	October 13, 1971
Running time	140 min.

Macbeth (also known as The Tragedy of Macbeth) is a 1971 film directed by Roman Polanski, based on William Shakespeare's play of the same name, concerning the Scottish lord who becomes the king through deceit, treachery and murder. It stars Jon Finch as Macbeth and Francesca Annis as Lady Macbeth. Because of the transition from play to movie, some passages from the original play had to be cut out for time constraints, and some soliloquies have been changed to inner monologues for the sake of realism.

Ending and its implied themes

In the most significant departure from Shakespeare's text, the film's ending is seen by some as unremittingly bleak. While Malcolm is crowned as Scotland's rightful king, his final speech is omitted entirely in favor of an abrupt, wordless scene which shows his brother, Donalbain, returning from exile and entering the witches' lair. The implication is that Donalbain will now seek the witches' counsel to usurp Malcolm through murder and treachery just as Macbeth had usurped Duncan, thus beginning the cycle of internecine bloodshed all over again. Donalbain is shown as envious of Malcolm throughout the whole film, perhaps even more so than Macbeth.

Some believe this ending recasts the events of the play within a closed circuit of action — a spiraling circular narrative framework (mise en abyme) — which suggests that the tragedy we have just witnessed will repeat itself again and again ad infinitum to the end of history. However, Polanski may have been using it to explain how Fleance and his heirs presumably founded the House of Stuart (Shakespeare intended it to imply that Fleance was the ancestor of the contemporary King James, who was at that time his benefactor) while Duncan's heirs died out, and possibly as a reference to the historical fact of Donalbain's ultimate betrayal of Malcolm. The subplot of the English installing Malcolm on the throne is also played down to an extent and not as prevalent as it was in the original play.

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Jon Finch and Francesca Annis as Macbeth and Lady Macbeth after Duncan's murder: "This is a sorry sight".

The violence in the film compared to other adaptations of Macbeth has been sometimes attributed to the fact that Polanski's pregnant wife, actress Sharon Tate, had been savagely murdered by members of the Charles Manson cult in August 1969. For some viewers, Polanski's depiction of the massacre of Macduff's entire household recalled all too well the senseless brutality and intoxicating horror of the Manson killings. Otherwise, the view is taken that Polanski wanted to show Macbeth in a historical and blunt light, rather than a dramatic one. Nevertheless, the attitude of the film remains consistent with that of Polanski's work as a whole, especially in its concern with the unstable dynamics of power and sexuality as well as the cynical questioning of conventional notions of heroism and redemptive action.

Technical style

The film is composed of single-camera establishing shots and subjective point-of-view shots, whereby the audience is made a vicarious/common (and voyeuristic) participant in the on-screen action. Much of the film's dialog lacks the emotive subtext of a traditional musical score. In many scenes all that is heard is the sound of the actors' voices in sotto voce accompanied by curious atonal wails and drones on the soundtrack. Similar to his 1965 film, Repulsion, Polanski also employs ominously unnatural silences and strange amplified sounds to create an enveloping sense of discomfort and dread.

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Macbeth has a prophetic vision of Banquo's heirs triumphant as the future kings of Scotland: "That crown doth sear mine eyeballs!"

The important scene in which Macbeth confronts the witches a second time, and is invited to gaze into their enchanted cauldron to glimpse his future, is realized as a cryptic, hallucinatory set piece montage. It begins with a vision of Macbeth's Doppelgänger warning him of the dangers at hand and finally culminates in a surreal visual allegory showing the eventual dynastic triumph of Banquo's heirs.

Banquo is seen as a king holding a mirror which contains an image of a "future" Banquo as a king holding a mirror, and this mise en abyme effect is repeated eight times until young Fleance is ultimately seen grinning and wearing a crown in the final mirror. This symbolic use of mirrors to illustrate a prophetic vision of death may have been inspired by Jean Cocteau's 1949 film, Orphée, and also references Shakespeare's original stage direction that the 'last Banquo' should appear holding 'a glass' (mirror).

The characterization of Lady Macbeth

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Francesca Annis as Lady Macbeth: "Out damned spot!"

In Polanski's film, both Macbeth and Lady Macbeth are played by much younger actors than has been the tradition. In the person of 26-year-old Francesca Annis, Polanski's Lady Macbeth is a softer and tamer character than is usually seen in most productions. Although willful and seductive, this Lady Macbeth is a rather capricious and perversely child-like young woman, almost a Lolita type, who controls her husband by persistently cajoling him and playing upon his frustrated sense of masculine pride.

Her strength and sanity crumble at a horrific pace when she at last becomes aware of the inescapable nightmare her actions have created. Polanski explained his reasons for this particular approach to the character by pointing out that "directors always present Lady Macbeth as a nagging bitch. But people who do ghastly things in life, they are not grim, like a horror movie". In an even more audacious departure from convention, Polanski had Francesca Annis perform Lady Macbeth's famous sleepwalking soliloquy in the nude.

Polanski also takes the liberty of interpolating a scene that does not even appear in the play, one in which Lady Macbeth, now overwhelmed by guilt for all the bloodshed she has caused, tearfully rereads an old letter from her husband which she had received from him before their decision to murder Duncan. In this missive, he tells her excitedly of the favor and status he had just won from his new benefactor, the king.

This deliberate use of Macbeth's innocent, hopeful letter as an ironic counterpoint to Lady Macbeth's complete mental and physical breakdown serves to index the terminal degenerative effect that their descent into evil and bloodshed has had, and will continue to have, on them unto their deaths. It also underscores a bleak realization of how the two of them have needlessly and tragically destroyed their contented, pastoral life together in exchange for a tortured, wretched existence of ever-increasing violence, isolation and paranoiac fear, as they commit murder after murder in continued boundless desperation to safeguard their ill-gotten position as king and queen of Scotland.

Production

jake hotchkis is soo dum that he is getting dropped to standard ahahahahah im glad that its not me

Reception and effect on those involved

Upon its theatrical release in October 1971, Macbeth received mixed reviews from critics. Some found the picture's relentless graphic violence and sexuality distracting, and complained that the insistent literalness of its depiction resulted in a crude and overly reductive interpretation of Shakespeare's poetry. Likewise, Polanski's deliberate and jarring omission of Malcolm's closing speech in favor of the abrupt, discordant, pessimistic ending was seen to deny the viewer any solace or respite by effectively promising a continuation of all the preceding horror.

Other critics, however, praised the film for its powerful and disturbing vision and for Polanski's rigorously logical, technically brilliant and imaginatively cinematic rendering of the play's action. The U.S. National Board of Review named Macbeth the Best Film of 1971.

During the promotion of the film, Polanski distanced himself from Playboy and in an interview with Sydney Edwards of the Evening Standard, he made cynical remarks about his mercenary reasons for accepting financing from the controversial magazine empire. Victor Lownes felt personally betrayed by these stinging comments and was enraged at the director's apparent indifference to the film's subsequent commercial failure, which ultimately incurred a significant financial loss to Playboy.

Disillusioned and humiliated, Lownes severed his friendship with Polanski on a note of bitterness and rancor. He did not renew his relationship with the director until almost a decade later when both men had fallen from grace. By this time, Lownes had been fired from Playboy, which was now deprived of gaming licenses for its lucrative casinos and threatened with bankruptcy, and Polanski had become a fugitive from justice, having been convicted of statutory rape in Los Angeles in 1977 and then fleeing to Paris before final sentencing.

Miscellany

• Albert Finney was first considered to play Macbeth but turned down the role, as he would only agree to star in the film on the condition that he be allowed to direct as well.
• Polanski originally wanted Tuesday Weld to play Lady Macbeth, however she turned down the role on account of the requisite nude sleepwalking scene.
• Martin Shaw auditioned for the role of Macbeth but was passed over in favor of Jon Finch; Shaw was eventually cast as Banquo.
• Ian Hogg, who appears as one of the thanes, also played the role of Edmund in Peter Brook's film of King Lear, which was made the same year and was similarly influenced by the ideas of Jan Kott.
• The role of Young Siward is played by the film's stunt coordinator, William Hobbs.
• The lyrics to the song that Fleance sings at Macbeth's banquet for Duncan at Inverness are taken from the poem "Merciles Beautè" by Geoffrey Chaucer. In the context of the film this extraneously inserted song is itself an anachronism, as Chaucer lived in the fourteenth century and Shakespeare's Macbeth historically takes place in the eleventh century.
• The character of Rosse (or Ross) is developed far beyond what is mentioned about him in the play. In the film, he is a knowing accomplice of Macbeth: Rosse tells Macbeth about Macduff's refusal to present himself; in the play, Macbeth knows about this by way of conversation with an unidentified person. In the film, Rosse is the third murderer of Banquo, sent by Macbeth as separate from the first two murderers, and he eventually deposits the other two hired villains to their death in a dungeon when they have outlived their usefulness to the king; in the play, the presence of a third murderer is mysterious and somewhat unnecessary. In the film, he has prior knowledge of the raid on Macduff's castle and leaves the doors open for the murderers to come and kill Macduff's family and servants; in the original text, Rosse is apparently unaware of the killings, even though he is the one who takes the news to Macduff, claiming he heard about it from trustworthy sources. In the film, Rosse betrays Macbeth only after he is not honored with thaneship, a rank symbolized by a ceremonial necklace which the king chooses to bestow upon Seyton instead.

External links

• Review by Fraser Donald
• Review by Roger Ebert
• Feminism and Roman Polanski's Macbeth, by Peter Balderstone, The Electronic Journal of British Cinema
• Film Notes, New York State Writers Institute
• Macbeth at IMDb