How Roman Polanski uses cinematographic techniques to illustrate his interpretation of Macbeth

   In the time from the return of Macbeth to his wife to the murder of Duncan, Lady Macbeth’s power is illustrated prominently by Polanski.  The genuine nature of the marriage and their love for each other is portrayed through the close-ups showing their delight at seeing each other again, and this changes our interpretation of the play, since the murderer is capable of love but also made weaker by dependence and trust.  In the bedroom when Macbeth returns, there is a close-up of Lady Macbeth pulling Macbeth onto the bed, showing the roots of passion which, when articulated in another form, result in murder.  They lie together until Lady Macbeth becomes distracted by the Thane of Cawdor’s medal, exposing her true priorities.   Their closeness is once again halted by Macbeth informing her that Duncan is to arrive and she becomes serious, and expresses her intentions with the line ‘Never shall sun that morrow see’. Polanski omits the messenger delivering this news in this scene and this serves to highlight the decisive, controlling influence of Lady Macbeth.  Her ambition is revealed in the speed at which she formulates a plan without conscience.  The fact that in the film she caresses the face of a shocked and confused Macbeth impresses upon the viewer Polanski’s view that Lady Macbeth cultivates her husband and uses her sexual power over her husband to spur on his ambition.

  The film’s depiction of the banquet begins with a low shot of horses stampeding frantically in a storm, amongst darkness.  This is juxtaposed with Macbeth’s soliloquy, which is split between thought and speech, set sheltered from the rain in calm blue light.  This shows Macbeth’s safety at this time and his knowledge that his security and wellbeing are in his own hands.  The dialogue is combined with close-ups of the back of Macbeth’s head, showing his yearnings for power and tendencies to darkness are deep-seated within his own mind.  Lady Macbeth is then shown alongside him and although both of their whole faces are cropped, the image of them both seems complete; illustrating how much the characters depend on each other and their united desires. This scene makes clear that the fruits of the plan have been derived from the interaction between the partners, equally.

  The characters then enter the banqueting hall where confusion is created through frantically joyous music that builds tension and rapid changes between short and long shots which mirror the feelings of the audience at this point.  There are men symbolically dancing around daggers and the colour red is very prominent, subconsciously reminding the viewer of the blood-fuelled undertones as set out from the beginning of the film.  Lady Macbeth then dances merrily with the King while the shadow of his crown falls upon her face.  This clearly depicts how duplicitous she is and will to do anything to secure her future while illustrating how Duncan is oblivious and naïve as he is literally ‘dancing with the devil.’

  The murder of Duncan is depicted in the film, despite not being included in the original script.  This graphic, repugnant inclusion serves to make us fully aware of Macbeth’s brutality but appears to be unnecessarily sensationalist tactic by Polanski which is deeply unsettling.  The scene begins with the close- focus drugging of the guards.  The guards are shown in great detail while Macbeth is not, showing the uncensored results of his terrible actions and his ruthlessness when he drags the guards roughly showing utter disconnection and focus.  The spilled wine looks like blood in contrast with the pale backgrounds, thus foreseeing the danger and death that is to come.  When Macbeth enters the room of Duncan he waits, showing remorse that lulls the viewer into a sense of hope.  It is this sense of uncertainty of Macbeth’s evil and his possible conscience that makes the murder scene more shocking and distressing.  Duncan is portrayed here by Polanski sleeping like a cocooned child, vulnerable and small to intensify the unjustness of this murder in the viewer’s mind.  It is when Duncan is clearly shown to open his eyes, filled with fear and shock that Macbeth frenziedly plunges the dagger into him, the first time of many; each one shown as clearly and disturbingly as the next as the shot is held, to emphasise the violence and evil which Macbeth possesses.  Duncan fights back half- naked, accentuating his defencelessness and the crown is quite literally removed from him when it falls to the floor, tinged with red light.  Duncan fights for his life throughout the unyielding stabbings, showing his true right to be a (good) king and Macbeth’s degradation and desperation as he plunges the dagger into Duncan’s jugular, covering himself with blood.  

  This scene, with its gratuitous violence, confirms Macbeth’s transformation and the terrible consequences of desiring what is not meant to be yours.  Polanski’s uses of close-ups are thoroughly disturbing, making it impossible for the audience to view Macbeth as anything other than evil.

  In conclusion, Polanski’s film often comes across as clichéd, with the colour-washes used to create mood and overdramatic music making the film appear too theatrical and amateurish.  The dialogue is run through as if it has little consequence to make way for the effects and the film is completely erroneous and wide off the mark in the sense that it is so at odds with the melodramatic bloodshed.