William Shakespeares Macbeth has defined the genre, of ambition, power, and ultimately tragedy. Few plays have inspired as many reproductions internationally as has Macbeth. Trevor Nunns 1978 adaption starring Sir Ian McKellan and Dame Judi Dench is one of such, based upon the Royal Shakespeare Company stage production. Like all adaptions, it is pivotal to understand that there will be numerous differing aspects in regards to the original, due to the directors emphasis on certain facets and disregard of others. The characters of Macbeth and Lady Macbeth are represented in this extract through numerous filmic techniques as well as consistent themes occurring cohesively including that of nature and disorder, fate, fortune and ambition. Through these two texts and different contexts, we are able to determine the effectiveness of this interpretation.
The characterisation of Lady Macbeth within the adaption allows us to furthermore establish how effective her portrayal is in comparison to the original. Initially, throughout the play, Lady Macbeth is represented as a manipulative, egocentric, dominant force to be reckoned with. It is with this nature that she is able to influence Macbeth to commit the murder of Duncan. Although as the play begins to unfold, Act Three; Scene One in particular, a new version of Lady Macbeth gradually begins to emerge. Macbeths prior susceptible, easily manipulated nature is diminished and a role reversal is evident. Due to Macbeths new found glory and accomplishment in regards to the usurping of the throne, he develops an arrogance that enables him to utilise the same mind games Lady Macbeth prior used on him, in particular; the questioning of masculinity. After Macbeth uses these same techniques in order to gain the murderers support towards the killing of Banquo, this role reversal is most evident, as Lady Macbeth is no longer in the light in terms of what Macbeth is plotting without her contribution. This is evident when Lady Macbeth asks Macbeth, Whats to be done?(Act 3, Scene ii), in regards to Banquo, and he quickly shuns her and says; Be innocent of the knowledge, dearest chuck, Till thou applaud the deed. Come, seeling night, Scarf up the tender eye of pitiful day This is a direct comparison to Lady Macbeths Unsex Me Here soliloquy once again conveying this power struggle. Lady Macbeths lack of dominance is shown in numerous ways in the film adaption, mainly through the use of size and camera angles. Although not deliberate, Lady Macbeth is portrayed as significantly shorter in size than that of Macbeth which instigates inferiority and lack of dominance. Also, as Macbeth is shunning Lady Macbeth from knowledge of his plans, Lady Macbeth is shown in the background rather than foreground, as well as low angle shots of Macbeth looking down on Lady Macbeth, each of which extrapolates the power Macbeth now holds in contrast to her.
Similar to Lady Macbeth, when considering the portrayal of Macbeth in this reproduction we are enabled to conclude the effectiveness of this extract in comparison to the play. Through the use of lighting, close up shots and costuming we are able to decipher the representation of Macbeth and underlying emotions apparent. The extract begins with a high angle shot, panning down on an elaborate, gold, jewel embellished crown and its placement on Macbeth, prior Thane of Cawdors, head. Despite Macbeths gain of this title there are also underlying fears, To be thus is nothing, But to be safely thus. Our fears in Banquo Stick deep Through this soliloquy, the lighting (or rather darkness) echoes this fear by achieving an atmosphere of distrust and the betrayal of the body by the mind, evident in Macbeths shift furtive eyes reinforcing this.
Nature and Disorder is an underlying theme consistent throughout the play and in particular Act Three. Nature and Disorder, due to the literary technique of pathetic fallacy, is highly evident in the play. The disorder that occurs, conveyed in unnatural events and the weather, reflects corruption evident in political and moral orders die to the usurped throne. The nature and disorder that envelops Scotland under Macbeths rule further depicts that Macbeth is not the rightful king. The king, in this era, was seen as king only if handpicked/selected by god himself. Throughout the course of the play there are numerous metaphorical references to nature and elements of nature, in Act Three, Scene Two this is evident in Macbeth and Lady Macbeths conversation in which Macbeth enunciates We have scorched snake, not killed it. But let the frame of things disjoint and sleep in the affliction of these terrible dreams that shake us nightly. This shows that as a result of the usurped throne, even Macbeth and Lady Macbeth are suffer from sleep deprivation as the natural order is upset. Nunn does not effectively convey this theme, other than with the use of dialogue, as there is no adequate way for him to convey this through techniques such as costuming, light, props etc hence he doesnt properly capture this central idea.
Ambition as a quality is a driving force and a necessity in achieving power, rank and hierarchical status. Although in the case of Macbeth, ambition is not the trait that is withheld, but instead, unchecked ambition is evident which serves as a key theme in particular in Act Three. Ambition acts in conjunction with fate and fortune and proposes the key reason for Macbeths downfall. Ambition is also evident through the concept of Macbeth manipulating the two murderers into the assassination of Banquo. Although Macbeth has currently secured the crown, die to the witches prophecies he knows this crown to be fruitless and hence aims to eliminate all possible risks of future kings being overthrowing his throne, which we know to be Banquos sons. Not only does this demonstrate Macbeths ambition and willingness to partake in any act that will secure the throne, but also depicts Macbeth challenging fate, another one of the witches prophecies. The scene has been effectively reproduced by Nunn as the use of lighting, which focuses on facial expressions and hand gestures(clenched) creates an atmosphere of fear and trepidation. In light of the witches prophecy and the immediate fulfilment thereof, in regards to Macbeth becoming King, Banquo soon develops an arousing suspicion that there is foul play evident in Macbeths court as can be seen in his soliloquy Thou hast it now: king, Cawdor, Glamis, all As the weird women promised, and I fear Thou playedst most foully fortmyself should be the root and father Of many kings We learn in the beginning that although the witches can create prophecies and somewhat predetermine events, they are unable to lead any individual directly to these events and it must be carried out by the individuals own actions, this is evident in this scene as Banquo believes that it is not the prophecies set by the witches that lead to Macbeths present situation but perhaps his own actions and unchecked ambition. Banquos soliloquy is also apparent in this filmic extract although is not as highly effective as it is conveyed solely through a close up shot that has no direct influence on the mood or evoking of emotions.
Despite the difference in media and context of Nunns film representation of Macbeth and the original Scottish play by Macbeth, I believe Trevor Nunns adaption to be a relatively effective reproduction of the text. Despite the lack of in-depth focus on central themes, it must be remembered that Nunns representation is in fact a filmed play and hence each of these themes cant be executed to the maximum potential due to lack of involvement of filmic techniques.
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