Macbeth (1998 TV Movie) User Reviews

Not a memorable Macbeth

[sarastro7 · 5/10 · 9 February 2007]

Greta Scacchi is a great favorite of mine. So is Shakespeare. So when I discovered that she had done a Macbeth, I immediately ordered the DVD (which was a double feature, also containing a thoroughly marvelous 2003 version of Twelfth Night, which made it plentily worth the price of admission). Unfortunately, this Macbeth was a disappointment. Greta Scacchi herself was good; absolutely the best thing about it. She spoke the words with more confidence and ease than the other cast members, and you have to bow down in awe and reverence to an actress who can deliver "He that's coming must be provided for: and you shall put this night's great business into my dispatch; which shall to all our nights and days to come give solely sovereign sway and masterdom" with complete naturality and without pausing to breathe! Whoa!

However, the remaining cast, and the no-budget modern setting, clearly derivative of Loncraine's Richard III (and perhaps a bit of Luhrmann's R+J), were utterly colorless and unconvincing. Now, I have always liked Sean Pertwee. I consider him a serious and intense actor whose screen presence I am frequently very comfortable with. But not here. He wasn't terrible, but he certainly wasn't anything to write home about, either. Maybe it was the silly goggles.

Of the rest of the cast, none distinguished themselves except for Lady Macduff, played by Ruth Gemmel. Her attractiveness is probably part of the reason I responded especially to her, but her delivery was also good.

All right, I understand this production was made for school purposes. I don't think that excuses its dullness. If some people enjoy it, and can get into Shakespeare because of it, that's great. I don't think it would have worked on me when I was in school, though, and if I were a teacher I would think twice about using this. The production is charismaless, and there isn't much acting going on. To engage students, I'd pick Shakespeare movies like Much Ado About Nothing, Romeo+Juliet or, if it has to be Macbeth, the Ian McKellen/Judi Dench version. Or, frankly, any other version besides this one.

This Macbeth reminds me enormously of the 1992 version of As You Like It, which is equally modern, bleak and, as I see it, uninspired (I rated it a 4 out of 10). You'd almost think they were made by the same person. But in Macbeth, we at least have the gorgeous, capable Greta to shine in the surrounding darkness.

Judged by the standard of Shakespeare movies in general, this movie is hard put to even approach mediocrity. But, because of Greta's performance, I will be kind and call it average.

My rating of this rather paltry Macbeth, thusly, is a just 5 out of 10.

Mixed feelings

[TheLittleSongbird · 6/10 · 20 August 2012]

The problem has nothing to do with the play, the play is one of the all-time greats to me. However I was disappointed but not completely underwhelmed by this version. Maybe my love for the 1979 version with Ian McKellen and Judi Dench spoilt it for me, but other than some undeniably good things, it was also not my cup of tea. The best thing about it was by far the riveting performance of Greta Scacchi. Not only is she a beautiful woman with a commanding presence and forceful delivery of lines, but this is a Lady Macbeth with some edge and some serious intent. She is especially good in the "out demanded, spot out" scene and her delivery of the line "He that's coming must be provided for:..." is certainly unique. The sleepwalking scene has the necessarily haunting punch. Michael Maloney is a noble and charismatic Banquo. The settings even in the more modern setting are appropriately austere, and the music while not quite my kind of music does at times have an eeriness to it. The witches are creepy, and Ruth Gemmel is a quite poignant Lady Macduff.

On the debit side, I wasn't convinced by Sean Pertwee as Macbeth, which for me is a big problem when it comes to this play. He does have some moments of charisma and manic anger, but overall I did find the interpretation too one-dimensional with little of Macbeth's sense of tragedy and loss or his regrets coming through. I also didn't feel enough intensity in the line delivery, "Is this a dagger I see before me" should chill the blood but Pertwee for me was too casual at this point. Disappointing also is the Macduff of Lorcan Crantitch. It does not help that his big Act 4 scene was cut, which in regard to this character was another big mistake as this is perhaps the play's most moving part and makes you identify with Macduff as he hears and comes to terms with what has happened to his family, but Crantitch I found rather emotionless in a role that usually reduces me to tears. The pacing was uneven. Act 1 was rather slow, which I was expecting as it is true of the play often as well, but then everything else after feels so breakneck that little time is taken to breathe or properly connect with the characters. Shakespeare's dialogue is brilliant, intense and poetic, even when truncated it still is fine here. However two scenes that are important to mood and character development are sadly not here, the Porter's scene which has always been humorous shining a bright light amidst a sea of gloom, the general and correct atmosphere of the play, and even more regrettably Macduff's Act 4 scene, the reasons of which I've mentioned above.

All in all, it is not as bad as some of the reviewers have said, but I can definitely understand the disappointment as some of the reservations they had I also did. It is worthwhile, quite atmospheric with some good performances, but as an overall whole, it didn't really ignite and gave me mixed feelings. 6/10 Bethany Cox

fast paced version aimed at schools

[didi-5 · 18 June 2004]

This bare-bones and inspired version of 'Macbeth' appeared on Channel 4 Schools programming in instalments before being shown in its entirety for a wider audience. Michael Bogdanov's film puts the action strictly in the here and now, in the rough and violent world of an apocalyptic estate, with Macbeth himself as an unrepentant maniac heading straight for hell.

Macbeth is perhaps the best Shakespeare play to give a shot in the arm - its the shortest and perhaps the easiest of the tragedies to manipulate any which way you choose. So this version works completely in what it intends to do, i.e. speak to a younger audience and flip this play on its head.

Macbeth and Lady Macbeth are admirably played by Sean Pertwee and Greta Scacchi, while others making a strong impression in the cast include Philip Madoc as Duncan, Michael Maloney as Banquo, and Lorcan Cranitch. Fans of the UK series 'Coupling' can see Jack Davenport and Richard Coyle in there too, alongside 'Birds of a Feather' star Lesley Joseph as one of the witches.

more gadgetry than Shakespeare

[dicesare1 · 3/10 · 14 September 2006]

Very disappointing. Pertwee is an offhand kind of Macbeth, with little acting, gestural, or vocal range. The director managed to cut or truncate some of the best verbal/poetic phrases/lines -- a flabbergasting disrespect for Shakespeare. If you want to do a play roughly related to Macbeth, do it, but don't call it a version of Shakespeare. This was simply a very bad version; it might have worked as an adaptation, completely reworked.. Lady Macbeth was better than most of the others, but almost everything else in the production was inferior. One of the worst things was the omission or eviscerating of key elements in the play -- e.g., the Porter's scene, which is almost completely cut, and Macduff's big scene in Act IV. In the interview between Macduff and Malcolm, Malcolm is totally unconvincing either when he is feeding Macduff his stupid stories about his vices or when he's proclaiming his actual innocence; one could easily think that he's pretending. Macduff is denied some of the most crucial lines in the play, when he learns of the slaughter of his wife and children. All in all, this is an insult to Shakespeare's play.

Shakespeare meets Mad Max=Laughable

[jdkraus · 4/10 · 22 March 2008]

Shakespeare was always a great and inspiring writer. He always will be. But that does not save this film from how bad it was. So, how could a movie adapted off of Shakespeare go wrong?

1.) Since this is based off of Macbeth, the story should have a middle-aged setting. No, the film has a Mad Max setting of all the characters wearing modern-day military outfits, driving trucks and motorcycles, wearing cool, Matrix styled shades, and carrying big guns.

2.) It is more than obvious that this is a low-budget movie and it has flaws. I'm not saying I don't like low-budget films, but usually when you're doing a masterpiece like Macbeth, you should do it with money in your pocket or on stage like the old days.

3.) Back with number one, I said everything looked modern-day. Well, with this view, I half expected for the opening line to be "What's up dude?" But no, everyone is speaking Shakespearean. I find that to be very far-fetched with this type of setting.

4.) The actors are slightly more than rehearsed. Greta Scacchi seemed to be the only one who was enjoying herself as Lady Macbeth, particularly with the "out demanded, spot out!" scene.

5.) The music. Rather than having a dark and eerie feel that I always thought Macbeth would have instead has an upbeat electric sound like a cheap 80s television show.

6.) The pace. The first Act was always slow for me, but in Act II when King Duncan is killed, things seem to pick up. This movie doesn't pick up at all. The only time it ever speeds up is at the last five minutes of where Macbeth meets his doomed fate.

I could go on and list other things I did not like about the movie, but that would take more than paper to fit it all in. However, I found enjoyment laughing at the film's poor and hokey quality of the Mad Max type setting. This is probably one of the most unintentionally humorous movies I have ever seen. Because of this, and that it's based off of Shakespeare, I give a polite 4/10.

Fine Cast, Lean and Mean

[Bologna King · 9/10 · 26 June 2001]

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.

Motorcylce Macbeth

[emmatherrien · 8/10 · 13 June 2007]

This shortened version of Shakespeare's Macbeth, which my English class has affectionately named Motorcyle Macbeth, is incredibly modernized, with the addition of guns and grungy apartments. The actors are literally speaking word-for-word what is written in the book our class has, and we enjoy watching this a great deal. We shout out funny things when something funny happens, and have nicknamed the lead actor "Blondie." The ending was a little- okay a lot- different from the play version, and the even the witches seemed a little out there. Nevertheless, I enjoyed Motorcycle Macbeth and was the first to recognize Malcolm from Pirates of the Caribbean.

A Macbeth that does a lot with a little.

[roarshock · 3 February 2001]

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.

succinct and edgy

[oldgirl · 8/10 · 2 June 2004]

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.

An almost Science Fiction version of Macbeth....

[american-beauty · 10/10 · 24 September 2000]

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!

Rough around the edges, perhaps, but overall admirably strong and well done

[I_Ailurophile · 8/10 · 5 December 2023]

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.