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Macbeth (1948)

Passed  -  Drama | History | War  -  23 June 1950 (France)
7.5
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Ratings: 7.5/10 from 3,522 users  
Reviews: 37 user | 33 critic

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 ... See full summary »

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Title: Macbeth (1948)

Macbeth (1948) on IMDb 7.5/10

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Cast

Cast overview, first billed only:
...
...
...
...
Edgar Barrier ...
...
Erskine Sanford ...
John Dierkes ...
Keene Curtis ...
Peggy Webber ...
Lionel Braham ...
Archie Heugly ...
Young Siward
Jerry Farber ...
Christopher Welles ...
Macduff Child
Morgan Farley ...
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Storyline

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 <puffinus@u.washington.edu>

Plot Summary | Add Synopsis

Taglines:

Entertainment Greatness . . . That Only Motion Picture Magic Can Bring !

Genres:

Drama | History | War

Certificate:

Passed | See all certifications »

Parents Guide:

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Details

Country:

Language:

Release Date:

23 June 1950 (France)  »

Also Known As:

Macbeth - Reinado de Sangue  »

Box Office

Budget:

$75,000 (estimated)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

(cut) | (premiere) | (restored video)

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

Orson Welles' daughter Christopher Welles played Macduff's young son. See more »

Goofs

Duncan and his men renew their baptismal vows with a prayer composed by Pope Leo XIII in 1884. See more »

Quotes

[first lines]
The Three Witches: Double,double,toil and trouble; fire burn, and cauldron bubble.
See more »

Connections

Referenced in Saints Row IV (2013) See more »

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User Reviews

From the Language Shapes
7 March 2008 | by (Virginia Beach) – See all my reviews

I got an angry email from a reader upset that I thought Olivier's "Hamlet" to be worthless.

I hold that view because of a personal appreciation of Shakespeare.

What I appreciate of his work is the unique way that his words can weave small cells of images, ambiguous layered and rich. Lovely as well, to tease their way into our souls. These little packages of firework wordimages burst on the tongues we listen with and successively whip a foam that perfectly follows the shape of the larger story.

He does this in different ways: "Tempest," "Ceasar," "Juliet" are all different and different from this play in how he structures this foamnarrative. This is not favorite among the great plays because it is excessively sonorous. I believe this to have something to do with Will's obsessions with word origins and his emphasis on Saxon structures.

Olivier is a typical British actor, someone that sees the words as merely shapes for the mouth and incidentally related to the grand arcs and tensions of the long composition. They are excuses for locution. Such actors disconnect the poetry from the massive stones that pass through the narrative.

This on the other hand is as well conceived as Olivier's Hamlet is mere posturing. It takes the poetry and uses it to build the whole. Welles mucks around with the play, reassigning text, creating new characters and editing heavily, but all to a coherent purpose. His army of cross bearers is something you will never forget.

But he does something else. All the changes, all the special attentions. All the theatrical devices are geared toward the cinematic expression. This isn't just a production by Welles. It was THE production. He'd been doing this for a decade. His theatrical production was the first cinematic play in history, and his work on it (and most of the players) came to Hollywood prepared, which is why we got "Citizen Kane."

This is terrific Shakespeare. This is terrific cinema. To my taste, "Othello" was even better. More layers. More ambiguity. More patina. And highly architectural.

But this. My friends. Shakespeare is special. Don't trust your soul with someone not worthy.

Ted's Evaluation -- 3 of 3: Worth watching.


14 of 23 people found this review helpful.  Was this review helpful to you?

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