Shakespeare's Macbeth is super psychedelic Halloweenish expat hallucidoses. It's got witches! It's got real Hunter S. Thompson-esque fear and loathing. It's the thriller from Scotland's Hillas, it's MACBETH!
Lady Macbeth and Mr. Macbeth also happen to have one of the most fucked up yet strangely beautiful romances in all Shakespeare, the one perhaps most like the real evil parents we all know, the dysfunctional libertines who flicker to life only when pondering murder on behalf of corporate advancement. Macbeth sends a message on ahead to his lady, alerting her to the the witches' freaky prophecy and he barely gets off his horse and kisses her hello before they're conspiring in hushed whispers like kids on Christmas eve. Maybe their sex life isn't so hot. That would explain her cold insistence that she'd smash her own baby against a rock before letting her man chicken out.
Say what you will about that kind of attitude, it beats mopey Hamlet's, or self-loathing Othello's. From evil to guilt to tumbling madly into the abyss, Lady Macbeth and her man never waiver in their devotion to each other, even if they may hesitate before their nasty deed or regret it after. Wracked by guilt, paranoia and regret as they both are, they never rat each other out, nor blame each other, but when the jig is up, each face their own demise with brave and wild-eyed willingness. In short, they're the UK's first Syd and Nancy!
There's three really stellar Macbeths in cinema thus far: Orson Welles' Republic studio-bound western-on-acid watching IVAN THE TERRIBLE version from 1948, which is my favorite, even though it's nowhere near as good as the other two: Polanski's 1971 naturalistic sex and gore and pretty people version and Akira Kurosawas's heavy yet delightfully weird THRONE OF BLOOD (1957).
Even if the whole butoh theater thing is not new to you, BLOOD's sheer ghostly otherness puts you in a high art trance, no matter if you're from Jersey or Princeton, drunk or sober. It's Kurosawa's great triumph that his windblown images resonate straight through all their age and culture barriers, like a samurai sword through one of those sliding paper walls. Mifune (whom I always secretly thought a bit over the top in SEVEN SAMURAI) blows away all doubts as to his magnificence. He was born to look stricken. I love how he stands there in these wacky butoh poses, his eyes bugging out, his crazy mascara eyes alight with that 'holy shit' waking up from a three-day black-out expression. We can read every thought that passes across his brow from 30 yards away.
Derek Malcom at the Guardian on THRONE OF BLOOD:
"It was, for what it's worth, TS Eliot's favourite film. The drama is presented with stark economy, its words subservient to the slow exposition of its plot, and the characterization admittedly less subtle than Shakespeare's. But I doubt the Bard would have turned in his grave. Kurosawa's parallel eloquence matches Shakespeare's so completely that it even outshines that of Verdi's musical version."
So I love THRONE OF BLOOD, but wish the English version had kept the original title "Spiderweb Castle." I probably would have seen it sooner, thinking there might be giant spiders in it. As it is I've grown comfortable with Orson Welles version and that's surely my favorite. I dream of being able to go back in time and see his Voodoo stage version of the 1930s that made him a star in Harlem. But he didn't star in that production, and if e'er an Illinois ham war born to play Macbeth, drunkenly unspooling vast gusts of Shakespearean wind, Welles war.
The main set for Welles' version, a mishmash of found objects from Republic's western scenery department, consists of the side of a rocky cliff with trails for the horses propped up by columns, like some Escheresque mind trap. Welles' sweaty face foregrounded against the processionals of horses makes them drip like ghost cops from a SHOCK CORRIDOR dream sequence drainpipe. Dig this perceptive piece from a professor named KJ:
Part of its mastery is its use of voiceover for most of the speech. That, combined with Welles' magnificent camera work (including angles, shadows, and focus—or out-of-focus—effects) give us a Macbeth who is more disoriented than evil. Welles seems to have taken Macbeth's inability to sleep and extended it into all aspects of the character. At first, he appears to be playing Macbeth drunk. Upon consideration, he's playing Macbeth as sleep-deprived. As a college teacher, I recognize this as method acting worth of Stanislavski himself!Polanski's is great but I need to see it again. I've seen Orson's version probably twenty times. Over and over again once while convulsing alone in my apartment in November 1998 after an alcoholic relapse (talk about violent sorrow seeming a modern ecstasy!). It's also the closest Orson got to making a horror movie. But Polanski made a horror movie or two before doing his Macbeth, so there's a kind of crossroads of Polanski themes a lurking: the madness of beautiful women (Repulsion); the meta connection to brutal, sudden violence ala Manson and the Nazis; and the all-consuming horror... of the elderly. (Rosemary's Baby).
Suffice it to say, Lady MacBeth (Francesca Annis) in the Polanski is a young, young hottie, unlike the Macbeth of either of the other films, and the witches number in the dozens and are naked and kinky and only about half are old like a Castavet. Everyone else is young and pretty and the bloodlust that wells up in the breast of our MacBeth (Jon Finch) seems more a madness born of Apollonian narcissism and flipside paranoia rather than sleep deprivation or, in the Kurosawa case, supernatural fatalism. Take your pick, or pick 'em all, you can't go wrong. Just kill the king... when I draw the Queen of Hearts, my dear breast-nursed serpent. There is no cooler name to say than Banquo.