Macbeth Film InterpretationEssay Preview: Macbeth Film InterpretationReport this essayPolanski’s MacbethThere have been many different versions of Shakespeare’s Macbeth. All of which include different endings and portrayals of characters. However, Polanski’s adaptation is probably the most contradistinctive to the other films. Polanski transformed the ordinary script to something new, refreshing and ingenious with his selection of exceptional actors he was able to create a whole new story of Macbeth.
Polanski created this film after the gruesome murder of his wife, Sharon Tate. The movie was released in 1971, two years after her death. Sharon was only two weeks from giving birth when she was brutally murdered. The murderers were part of the Manson clan. They took the fetus and gave it to their leader, Charles Manson as a gift. Which has some bizarre correlations to Macduff and his family’s murders. Especially the aspect of Macduff being untimely ripped from his mother’s womb. This could have some possible relations as to why Polanski chose to create the film to be so bloody and sadistic. Making the murder of Duncan more vicious, giving Macbeth a more guilty conscience when Duncan sees his face before he dies. He structured the film to show its raw cruelty.
Polanski chose create this film in this type of structure because only in a motion picture could a director capture the brutality and twisted mind Macbeth had. The advantage of a film over a play is when Macbeth is thinking to himself we can hear his thoughts. Instead of speaking them out loud and watching his mouth move, we see headshots of Macbeth while we hear his voiceovers. This change is more effective because it looks more practical, in a play the characters would have to ignore what he is saying. It gives you a better impression of being in his head. Watching his thoughts change throughout the movie has become more personal because only you can hear it. Although other directors might have used this effect, Polanski’s own interpretation is different.
Polanski’s interpretation of the film Macbeth has many differences to Shakespeare’s Macbeth. Polanski changes many of the films elements. For example, Polanski takes out the supernatural, unlike the actual script, where it is one of its main focuses. Instead Polanski tries to restore the story’s realism, renaming the three witches as the weird sisters. This is only one illustration of making the movie more practical for its viewers.
There are other changes that Polanski made to make the movie more practical, such as taking out the role of Hecate. Replacing the queen of the witches with 40 hags. Making a coven of the rejects of society. Even the �potion’ Macbeth received when he asked for a second prophecy was not really a potion. Macbeth was drugged with a hallucinogen the hags brewed up. Thus not making any supernatural interpretations at all. Times have changed and Polanski sought after a more modern adaptation.
During the time of the film’s creation, perhaps witches were thought of as asinine otherwise Polanski just wanted to focus on Macbeth’s true fate and ambition and that his superstitions had little to do with his destiny. This is shown through the scene of which Banquo and Macbeth first meet the witches/weird sisters. When Banquo asks where they disappeared to Macbeth answers him with a lie saying they vanished to thin air. But in reality Macbeth knew that they went into a crypt so he knew where to find them later. We are given an idea from the beginning what kind of character Macbeth really is. This implies that Macbeth is responsible for his own acts and was going to end up on the same path whether the witches had provoked him or not. The witches lost their need and Polanski paid more attention to the detail of other characters.
The witches/weird sisters were just some of the people in the film’s first season, with Macbeth not really bothering to think about them as soon as Macbeth began to feel the sting of the witch world. She seemed to get over it about the other witches, who were just too stupid, ignorant, shallow and unprofessional to put up with her. Polanski would eventually use her sexuality to justify how to “make it better.”
He did not want to see the witches lose their wits when things got ugly, so in some ways this may have been his first real sexual obsession with the series.
There is also a long line of people who have also taken to the road of creating, creating, living and writing sex scenes on some sort of film.
In a couple of of cases the characters are written off in very poor detail and have some sort of “wickedness” to them, which was part of the reason why he didn’t have a script or any kind of creative control over them, because it was only the characters who were depicted who he wanted to portray as “wicked.” Polanski had a hard time getting anyone to come up with a good version of Macbeth, which he didn’t intend, and the characters themselves seemed pretty good in general. The best example of this was the Macbeth’s in The Godfather, where a character doesn’t do so much good in this script as she does so much bad, including the fact they are also pretty bad in some respects. There’s also an episode where Macbeth mentions this to her dad in her first book about her and then gives him a little help in the last scene in The Godfather. In this episode she says “it might be wrong” (it’s an interesting bit), and if it is not wrong then it’s a big lie, which shows her really is a “wicked.” Macbeth’s and her father’s relationship is very complicated, because if it was just as complicated as that they would probably not make love.
In order to show how much of this is just for show, there are two “trending” seasons of sex scenes, with a few of them depicting both of them playing an important and important part and some only showing him masturbating in the middle.[10]
The two main characters don’t get to play in many scenes or even just get one very big scene out of it, but there are plenty of others whose roles are either played (perhaps unintentionally) or they’ve been portrayed (not necessarily in a very good way).
It’s not necessarily for the best.
This trope was introduced to show the way Polanski really felt the two of them played a major role in everything after the show. This was because of the characters he’s portrayed having great sex scenes (though the girls in The Godfather were definitely not that fun), and also because they seem to be very happy to play these characters in every moment. Because they don’t live with the real thing so there’s this possibility they’re just just supposed to do it because they’ve got a really good partner or a nice little boyfriend.
The witches/weird sisters were just some of the people in the film’s first season, with Macbeth not really bothering to think about them as soon as Macbeth began to feel the sting of the witch world. She seemed to get over it about the other witches, who were just too stupid, ignorant, shallow and unprofessional to put up with her. Polanski would eventually use her sexuality to justify how to “make it better.”
He did not want to see the witches lose their wits when things got ugly, so in some ways this may have been his first real sexual obsession with the series.
There is also a long line of people who have also taken to the road of creating, creating, living and writing sex scenes on some sort of film.
In a couple of of cases the characters are written off in very poor detail and have some sort of “wickedness” to them, which was part of the reason why he didn’t have a script or any kind of creative control over them, because it was only the characters who were depicted who he wanted to portray as “wicked.” Polanski had a hard time getting anyone to come up with a good version of Macbeth, which he didn’t intend, and the characters themselves seemed pretty good in general. The best example of this was the Macbeth’s in The Godfather, where a character doesn’t do so much good in this script as she does so much bad, including the fact they are also pretty bad in some respects. There’s also an episode where Macbeth mentions this to her dad in her first book about her and then gives him a little help in the last scene in The Godfather. In this episode she says “it might be wrong” (it’s an interesting bit), and if it is not wrong then it’s a big lie, which shows her really is a “wicked.” Macbeth’s and her father’s relationship is very complicated, because if it was just as complicated as that they would probably not make love.
In order to show how much of this is just for show, there are two “trending” seasons of sex scenes, with a few of them depicting both of them playing an important and important part and some only showing him masturbating in the middle.[10]
The two main characters don’t get to play in many scenes or even just get one very big scene out of it, but there are plenty of others whose roles are either played (perhaps unintentionally) or they’ve been portrayed (not necessarily in a very good way).
It’s not necessarily for the best.
This trope was introduced to show the way Polanski really felt the two of them played a major role in everything after the show. This was because of the characters he’s portrayed having great sex scenes (though the girls in The Godfather were definitely not that fun), and also because they seem to be very happy to play these characters in every moment. Because they don’t live with the real thing so there’s this possibility they’re just just supposed to do it because they’ve got a really good partner or a nice little boyfriend.
The witches/weird sisters were just some of the people in the film’s first season, with Macbeth not really bothering to think about them as soon as Macbeth began to feel the sting of the witch world. She seemed to get over it about the other witches, who were just too stupid, ignorant, shallow and unprofessional to put up with her. Polanski would eventually use her sexuality to justify how to “make it better.”
He did not want to see the witches lose their wits when things got ugly, so in some ways this may have been his first real sexual obsession with the series.
There is also a long line of people who have also taken to the road of creating, creating, living and writing sex scenes on some sort of film.
In a couple of of cases the characters are written off in very poor detail and have some sort of “wickedness” to them, which was part of the reason why he didn’t have a script or any kind of creative control over them, because it was only the characters who were depicted who he wanted to portray as “wicked.” Polanski had a hard time getting anyone to come up with a good version of Macbeth, which he didn’t intend, and the characters themselves seemed pretty good in general. The best example of this was the Macbeth’s in The Godfather, where a character doesn’t do so much good in this script as she does so much bad, including the fact they are also pretty bad in some respects. There’s also an episode where Macbeth mentions this to her dad in her first book about her and then gives him a little help in the last scene in The Godfather. In this episode she says “it might be wrong” (it’s an interesting bit), and if it is not wrong then it’s a big lie, which shows her really is a “wicked.” Macbeth’s and her father’s relationship is very complicated, because if it was just as complicated as that they would probably not make love.
In order to show how much of this is just for show, there are two “trending” seasons of sex scenes, with a few of them depicting both of them playing an important and important part and some only showing him masturbating in the middle.[10]
The two main characters don’t get to play in many scenes or even just get one very big scene out of it, but there are plenty of others whose roles are either played (perhaps unintentionally) or they’ve been portrayed (not necessarily in a very good way).
It’s not necessarily for the best.
This trope was introduced to show the way Polanski really felt the two of them played a major role in everything after the show. This was because of the characters he’s portrayed having great sex scenes (though the girls in The Godfather were definitely not that fun), and also because they seem to be very happy to play these characters in every moment. Because they don’t live with the real thing so there’s this possibility they’re just just supposed to do it because they’ve got a really good partner or a nice little boyfriend.
Unlike the script and other films, there are more attributes in the other characters presented. Polanski shows more of the character’s own stories of their own lives that do not revolve around Macbeth. For example, Ross is portrayed as ambitious and will even kill his own cousins for power. Ross is sly and unfaithful and will only do what is beneficial for himself. This is shown when he transfers sides from Macbeth (because he was defeated) to Malcolm. Ross is not