|
| Rating: |
   
|
| Run Time: |
140 min |
| MPAA Rating: |
R |
| Released: |
1971 |
| Directors: |
Roman Polanski
|
| Genre/Type: |
Drama
Period Film
Tragedy
|
| Producers: |
Andrew Braunsberg
Timothy Burrill
Victor Lownes II
Roman Polanski
|
Plot Synopsis by Hal Erickson
Perhaps William Shakespeare meant to have Lady Macbeth perform her sleepwalking scene in the nude -- it was this X-rated scene and the film's much-publicized spurts of violence, rather than the brilliant performances of
Jon Finch as Macbeth and
Francesca Annis as his Lady, that lured crowds to
Roman Polanski's 1972 adaptation of
Macbeth. Only a few critics glommed onto the most impressive aspect of Polanski's version: as Macbeth and his wife sink deeper and deeper into the morass of their murderous ambitions, they age and wither before our eyes (Shakespeare's play does cover several years, but this is usually forgotten or ignored by many actors and directors).
Macbeth was financed and released by Playboy, which naturally necessitated a fold-out spread on "the witches of Cawdor." The original Shakespearean text was adapted for the screen by Polanski and Kenneth Tynan. Despite an excellent first week,
Macbeth ended up in the red, compelling
Hugh Hefner to think twice about future motion-picture projects.
| Actors |
Character |
Born |
| Jon Finch |
Macbeth |
Mar 2, 1941 in Caterham, Surrey, England |
| Francesca Annis |
Lady Macbeth |
May 14, 1944 in London, England |
| Martin Shaw |
Banquo |
|
| Nicholas Selby |
Duncan |
Sep 13, 1925 in London, England, UK |
| John Stride |
Ross |
Jul 11, 1936 in London, England, UK |
| Vic Abbott |
Cawdor |
|
| Stephen Chase |
Malcolm |
|
| Josephine Barstow |
|
|
| Terence Bayler |
Macduff |
Jan 24, 1930 in Wanganui, New Zealand |
| Aud Johansen |
|
|
| Alf Joint |
Old Seyward |
|
| Paul Shelley |
Donalbain |
|
| Bruce Purchase |
Caithness |
Oct 2, 1938 in Thames, New Zealand |
| Geoffrey Reed |
2nd Minor Thane |
|
| William Hobbs |
Young Seyward |
|
| Kostas Paskalis |
|
|
Roman Polanski filmed William Shakespeare's grisly and nihilistic play as his first project after the horrifying murder of his wife
Sharon Tate by the Manson family. Polanski's
Macbeth taps into a deeply rooted literary tradition -- a hero flawed by ambition and tempered by conscience -- while using seedy cinematography to suggest the nasty brutishness and grimly expedient violence of this pre-medieval Scottish world.
Jon Finch's Macbeth, who bears a creepy similarity to Charles Manson, offers an appropriately bipolar performance, swinging wildly from swaggering bravura to paralyzing guilt. The infamous Lady Macbeth is portrayed in a curiously muted and demure way by
Francesca Annis, who gets stuck inside the role of a hysterical Victorian heroine and fails to show her character's development from doting wife to fiendish schemer. Polanski adds such non-Shakespearean scenes as the execution of Cawdor, the murder of Duncan, and the final duel between Macbeth and Duncan's avenger, Macduff -- all helping to portray, brutally and convincingly, the cruelty of a world run by savage despots, and making for an unforgettable film that is almost ceaselessly riveting.