In the BB.C version the costumes the two actors wear are a lot more flamboyant. Macbeth’s costume is very well decorated, the dress code is suited to the time period much better than the modern version. But like the modern version, Macbeth’s appearance shows his wealth and position. Lady Macbeth wears a dark red dress, which may have some sort of link to the evil mood created by the dark setting and planning of murder. She also wears many pieces of jewellery, adding to the wealthy impression given off by her appearance. Once again both outfits show wealth and position, as intended.
In the third version, Polanski’s version, the actor’s costumes are very similar to the costumes in the B.B.C version, but are clearly not as modern as those in the modern version. Macbeth’s clothes are very much like that of a knight. Macbeth wears jewellery including a large chain, worn much like the clothes and jewellery in the other two versions, to symbolise wealth and rank. Lady Macbeth wears an extremely definitive white dress, a rarity in the time the play is set, and this is an obvious sign of wealth along with the jewellery she wears in all three versions. Both Lady Macbeths’ costume and Macbeths’ costume are very similar to the costumes of the actors in the B.B.C version, singling out the modern version as the most unique. Although clear differences can be found in the costumes of the three versions, all three include clothing to show wealth, rank and social status.
The lighting in the first version, the modern version, is very dark and grim, there are many strong shadows but also flashes of blue and red light included. The gloomy lighting creates a strong atmosphere of evil and bad things, whilst the flashes of red light reflect Macbeth’s thoughts on killing the King. The flashes of blue light also contribute to the uneasy and cold atmosphere related to the murder of Duncan, the King. Macbeth’s face is lit up throughout the conversation between him and Lady Macbeth, revealing his many facial expressions, reactions and emotions expected with such a traumatic plan. Once the conversation has ended Macbeth and Lady Macbeth leave the room and walk through an avenue of blue lights, possibly used to represent the cold agreement to murder the King.
Almost all the lighting and focus in the B.B.C version is concentrated on Macbeth’s face. This is an extremely effective way of emphasising Macbeth’s facial expressions, reactions and emotions at such a traumatic time, showing us how he really feels. Even when Lady Macbeth enters the lighting remains focussed on Macbeth’s face. The lighting used in the B.B.C version is no doubt effective, but very bland compared to the other two versions.
The Polanski version of the scene includes a wide variety of lighting. When cameras are focussed on the banquet, a warm, bright and colourful lighting is used, including open fires, whereas exterior shots of the castle are filmed at night, so are very dark and gloomy. While Macbeth performs his speech, camera and lighting is focussed on his face, this is a very effective was of emphasising how he really feels, although background action can be seen and heard.
The sound in the modern version includes much background noise, but is nowhere near distinctive enough to divert attention away from the actors. The background noise includes laughter and talking from the banquet in the next room, footsteps and machinery. The background noise creates an atmosphere of secrecy. Included in the background noise is the beating of a drum, adding to the feeling of distance between Macbeth and the banquet.
The B.B.B version’s sound is much less definitive and quieter than the other two versions. The B.B.C version includes introductory music to help set the scene. Macbeth does not speak clearly but whispers the plans to himself, when Lady Macbeth enters a loud noise symbolises that Macbeth has been interrupted. Macbeth’s speech gets louder when he talks to Lady Macbeth and quiet background noises can be heard. This version focuses mainly on Macbeth, with no distracting background noises to draw attention away from his speech, overall the sound is fairly bland.
Polanski’s version begins with immediate background music, which gets louder towards the end. The background noise includes music of a style expected for the time the play is set in and general party noises e.g talking and laughing. The consistent background noise signifies this version from the other two, along with a variety of sound effects including horses, all contributing to the bigger budget style of the video. At one point a storm begins, possibly symbolising the evil of Macbeth’s plans and creating a more sinister atmosphere. A noticeable difference of this version and the other two is Macbeth’s speech, which is in the form of a voice over. The background music becomes much louder when Macbeth speaks with Lady Macbeth. The variety of sound effects in this version separates it from the other two versions.
The modern version of the scene shows many camera angles and a lot of movement around the actors. Macbeth begins the scene by pacing around, the camera focuses on him emphasising his thoughts and feelings as well as the fact he is the main character. Lady Macbeth enters yet camera focus remains on Macbeth, just showing how important to this scene he is. Many of the camera angles are focussed on Macbeths face, but are shot looking over Lady Macbeths shoulder, showing just how pushy she is getting. Almost all the camera angles show the actors waste upwards when they are talking, when Macbeth refuses to kill the King focus is switched to Lady Macbeth to show her reaction and response. When Lady Macbeth gives her speech, focus is switched back to Macbeth to show his reaction and response.
The B.B.C version’s scene starts with a panning shot, working its way across the whole of the banquet table until it stops on Macbeth, the main character in focus. The camera remains focussed on Macbeth until Lady Macbeth enters. Once again an over the shoulder view is taken to show Lady Macbeth’s reaction and response when Macbeth refuses to kill the King. The camera angles in this version have much more emphasis on the actor’s faces than the modern version.
The last version of the scene, Palanski’s version, is by far the most intricate of the three versions when it comes to camera work. The scene begins with panning across the set, much like the B.B.C version, until a focus on Macbeth’s face is fixed and we hear the voiceover announcing his thoughts. The biggest significance in this version is the external shots of the castle, where the scene is set, really showing the contrast between the party inside, and the storm outside. Not one of the other version include external shots of the set, creating the impression of a higher budget production. Like the modern version, many of the camera shots of the actors are waste upward, emphasising reactions, responses and emotions.
In my opinion Polanski’s version was no doubt the best, it re-enacted the play “Macbeth” to a degree the other two version could only dream of. Intricate camera angles, attention to detail, emphasis on key points and excellent setting all added to the overall feel of authenticity.
