“To be king stands not within the prospect
Of belief”
So why then would he accept the testimony of those ‘imperfect speakers’? To believe that Macbeth ‘came under’ their influence is to deny the fundamental nature of man – free-will. This ability of mankind to choose their own path, and make decisions on the basis of personal morality, sets us apart from all other animals, and we are answerable for our actions. I believe the witches prophecy, ignited in Macbeth, a lust for power and position that was always present; for if he had no such desire, nothing would have changed his basic nature, and turned him into a murderer.
So why did the witches target Macbeth, and not Banquo? He was just as unlikely to be given the position of Thane of Cawdor and the crown. Instead they promised him happiness, and the fatherhood of future kings; but Banquo seems unimpressed by the witch’s powers saying;
“Speak then to me, who neither beg nor fear
Your favors nor your hate.”
Instead he warns Macbeth of the evil intentions behind their prophecy.
“But, tis strange
And oftentimes to win us to our harm
The instruments of darkness tell us truths,
Win us with honest trifles, to betray’s
In deepest consequence.”
Could it be, that the witches could sense the latent, evil lust that was part of Macbeth, and directed the prophesy accordingly? Certainly Macbeth was aware if the consequences should he pursue the crown. In lines 128-140 he demonstrated his lust for power. His ability to rationalize the witches known evil into benign figures who merely foretell the future, is indicative of the strength of his desires. Macbeth is not amoral – both sides of his nature are weighed, and of his fear and loathing of the murders that must occur, he says,
“And make my seated heart knock at my ribs
Against the use of nature? Present fears
Are less than horrible imaginings.”
But not even this self- acknowledgement of his ‘dark side’ is enough to deter Macbeth, as he goes on to say.
“If chance will have me king why chance may crown me
Without my stir.”
This acceptance that he will do what is necessary, regardless of the consequences is shown in lines 146-149
“Come what may
Time and the hour runs through the roughest day.”
Although the witches appear only in a few scenes, the role they play in corrupting Macbeth is the pivotal axis on which the whole tragedy succeeds or fails. So how then do modern directors interpret the role of the witches?
Macbeth – BBC version by Jack Gold
The set is minimal and dark, with little detail to fire your imagination. The special effects- lighting, fog machines etc. only enhanced the cheap seediness of the set, and did nothing to create the ambience the play deserved.
The musical score I found redolent of 1970’s Dr Who – tired, dated, and just erring on the side of OTT. For me, the musical score should go virtually unnoticed, adding suspense, excitement and heightening fear at appropriate moments, seamlessly – and not as Mr. Gold has it , shouting out at the audience the importance of the scene. It almost tugs a smile of embarrassment, as it dominates rather than enhances your perception of the play.
At the beginning of scene I, the witches are dressed shapelessly in rags, with cowls covering their heads to disguise their faces. Make-up, which is concentrated on the witches hands, has been done expertly- giving them the appearance of being calloused, misshapen and some what evil. But again, instead of it being simply a means to add atmosphere; for some inexplicable reason, Mr. Gold feels the need to focus the audience’s attention solely of this small detail, with the amount of time, close-up and camera angles.
In Act I scene III we meet Macbeth and Banquo. Or rather we meet the actors who recite the words form Shakespeare’s great tragedy. They never seem to be comfortable within their roles, even though the B.B.C. has gone to some trouble, getting their costumes historically correct. Shakespeare is already a difficult writer to understand, given the differences in syntax and vernacular between his era and our own, never mind watching stilted words and actions form men whom don’t seem to ‘get it’ either. However, that aside, I can see the merit in Jack Gold’s work; He has attempted to reproduce as closely as possible, the play as Shakespeare wrote it. His interpretation is unabridged, and his lack of using overt artistic licence; ensures that this version is as close to the original as a modern director can hope for.
Macbeth – film version by Roman Polanski
The opening scene to Polanski's take on Macbeth is of a deserted lough-shore at dusk. A lone gull’s melancholy cry sets the tone of desolation, as the witches meet to cast their spell for Macbeth. He uses three generations to separate the characters. One crone is ancient, with grotesque disfiguration to her eyes rendering her blind. Whilst a black skull-cap that tightly encases her head leaves only her face visible – enhancing its skeletal appearance.
The second witch is younger, although still old, and her rotund figure and facial features would imply a homely, loving nature- if it weren’t for the bulbous, hooked nose complete with obligatory wart. The portrayal of the third witch comes as a surprise – as she’s young and pretty, with long blond hair and no visible disfigurements.
Although Polanski uses Shakespeare’s script through-out, he also uses considerable artistic licence in his interpretation. Symbolism plays an important part in enhancing key moments of the scenes I watched - from the witches burying an arm, a dagger and a noose; completing the spell with sprinkled blood – through to the young witch lifting her skirts to expose what appears to be male genitalia. The latter being presumably Pulaski’s way of silently articulating Banquo’s words in scene III
“You should be women,
And yet your beards forbid me to interpret
That you are so.”
The actors playing the roles of Macbeth and Banquo delivered their difficult lines believably, and with passion – enabling the viewer to ‘digest’ Shakespeare without being distracted. Whilst the musical score, from the crying gulls, to the discordant bagpipes, added the necessary tension and drama to the film.
Comparing these two versions of Macbeth is quite difficult. Jack Gold’s production is a play, and the effects of the limited space, scenery and budget, must be taken into consideration when it’s placed alongside Polanski’s film version – to which none of these restrictions really apply. That said, I personally prefer Polanski's work. I found the story-line easier to follow and more interesting, since it was presented in the style my modern, jaded imagination has come to expect.
Jacqueline Ewing
March 2003