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Dolores del Rio
In fog-dripping, barren and sometimes macabre settings, 11th-century Scottish nobleman Macbeth is led by an evil prophecy and his ruthless yet desirable wife to the treasonous act that makes him king. But he does not enjoy his newfound, dearly-won kingship... Restructured, but all the dialogue is Shakespeare's. Written by
Rod Crawford <email@example.com>
Lord Macbeth encounters witches that foresee his ascension to power and finally to the throne. Driven on by this prophecy and his ambitious and manipulative wife, Macbeth plots, betrays and murders to become King. This is Shakespeare at his most bleak, pessimistic and chilling.
Orson Welles, a lover of Shakespeare from an early age, would make three attempts to bring the Bard to the screen. Each attempt has the same strengths (ambition, performance, Welles himself and visual genius) and weaknesses (a beggar's budget). Of these three attempts (the other two being Othello and Chimes at Midnight), Macbeth is the least handicapped by technical difficulties, even if is the weakest overall.
Welles used borrowed costumes and unusual locations (such as an abandoned mine) and shot them in a staggeringly surreal way that greatly enhances the overall quality. As an adaptation, his Macbeth is very faithful in spirit, and trimmings in the text serve only to make it more cinematic and compliant with limited resources. Never, to the star/director's credit, does this feel like a "small" film. Rather, it is inspirational, and traces of it's genius can be found in Kurosawa's version, "Throne of Blood", shot ten years later.
Essential viewing. Especially for those in Europe who have access to Wild Side's beautiful new transfer of the full 115 minute version.
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