Macbeth Onscreen:
Why Re-adaptation is not a Tragedy

by Oliver Spicer.

Warning: Contains short descriptions of violence and references to 'The Scottish Play'

When adapting another form of media into film a series of decisions need to be made: primarily what to include or omit from the narrative, but also the overall atmosphere the film creates. Faithful adaptations will preserve certain parts of the original such as key dialogue; whilst altering the plot, changing the characters, and shifting the time period can push the boundaries on what a ‘retelling’ is.

However, when re-adapting (turning a text into a film that has already been converted multiple times) there is an internal conflict present in these decisions: the film must follow the original text close enough to be considered an adaptation, but must also employ a unique style to keep audiences engaged in a narrative they already know the ending and key turning points of. Whereas an adaptation can entertain simply by transferring a story onto the screen, a re-adaptation must retell a known story in its own voice - often leading to innovative and interesting uses of film form.

This is true for The Tragedy of Macbeth (Joel Coen, 2022) View on: IMDb. Lettrboxd. Wikipedia. , which is based on Shakespeare’s play of the same name as well as previous on-screen interpretations. The style of the film is both inspired by and differentiates itself from past renditions such as Orson Welles' classic (Macbeth, Orson Welles, 1948) View on: IMDb. Lettrboxd. Wikipedia. to Kurosawa’s Samurai Translation Throne of Blood (Kumonosu-jô, Kurosawa, 1957) View on: IMDb. Lettrboxd. Wikipedia. , and Justin Kuzel’s gory attempt in 2015 (Macbeth, Justin Kuzel, 2015) View on: IMDb. Lettrboxd. Wikipedia. .

Through comparing the same key scenes from previous adaptations to the Coen's, the unique aesthetic of The Tragedy of Macbeth can be unearthed - as well as the importance of re-adaptations in cinema as a whole…

Meeting the Witches

One witch turns into three, Apple.

Shakespeare’s play opens with the end of a battle - one in which Macbeth was especially brave and will later be rewarded for. But as Macbeth and his friend Banquo travel back to meet with the king, they come across three witches that prophesise their futures.

The Trajedy of Macbeth is first unconventional due to its inclusion of only a single witch - who is depicted in a long shot that reveals two other witches in the reflection of a puddle when meeting Macbeth. The artistic quality of this adaptation can be seen through the framing of the shot, where the witch’s central positioning creates a sense of balance through the composition (possibly also showing their central control over the proceeding plot through their prophecy). However, the impossible reflection breaks this symmetry - a visual cue of their magical powers that is emphasised by the mystical connotations of reflections and water. Costumes of all black gowns blend their figures into monolithic blobs to show they are not truly human, which is supported by their lack of movement as they chant “All Hail Macbeth!” in perfect unison. A background of the remanence of the battle, two corpses and jagged spears sticking out of the ground in obscure angles, creates a sense of danger surrounding the witching and their positioning on the boundary between land and water shows they are in bertween the two states of life and death or human and immortal as undead spirits.

This meeting of the witches is more ominous than in Orson Welles’ version, where the three witches scream and cackle as they deliver the same prophecy. A statue of Macbeth’s head with a crown are used as a visual guide to his future, with the witches bowing as they hold it in grandeur above their heads. However, there is a still a sense of mystery in this scene created through smoke, high contrast lighting, and black robes that mask the facial features of the witches. Both versions also create an unreal sense of space by using white backgrounds for their exterior shots that lead to the films having a dream-like quality through the lack of believability in their locations.

Kurosawa’s samurai interpretation also shares similarities to Coen’s version by featuring a single witch, however here it is an evil spirit in the woods that chants a poetic prophecy to the two soldiers. Central framing is also utilised to depict the spirit as in control of the soldiers’ lives and the centre of attention for the scene. However, an all white costume is chosen for the spirit to create a ghostly and unnatural look when compared to the dark forest - linking with the culture of Japan due to white kimonos being used in burial rituals and thus associated with the dead. The spirit’s cage-like inhabitance of a bamboo shack can also be seen as a portrayal of its non-human characteristics due to its appearance of being like a zoo, as if the spirit was a fairground attraction that the soldiers are mesmerised by. Furthermore instead of water to depict magic, a spinning wheel is used due to its links to fait in many cultures (such as Sleeping Beauty’s curse from Germany or the goddess Clotho from Greek Mythology who controls mortal’s lives trough string) including Japanese folk law.

Overall, compared to its predicessors The Trajedy of Macbeth employs the most artistic aesthetic. Although Orson Welles' use of high contrast chiaroscuro lighting gives his interpretation a visually dramatic quality and Kurosawa’s intricate compositions show the thought that has gone into every image, the stillness and clarity of Coen’s shots contributes to the spectator reading them more like pieces of art than frames in a film. This is furthered by the use of visual metaphors (such as the impossible reflection displaying the witch’s power) that make images the centre of the story. Yet the film also rejects traditional filmmaking through its stretched-out shot length, lack of believable set design, and long monologues that would be considered unconventional in modern cinema. Tragedy thus balances visual storytelling with an anti-cinema aesthetic to create a recreation that is both a faithful adaptation of the play and fully utilising the medium of film.

Killing the King

Macbeth monologues before killing the king, Apple.

The next scene that can be dissected to illustrate the unique style of Coen’s version is Macbeth’s murder of King Duncan in order to ascend to the throne. Before the killing Macbeth (Denzel Washington) walks down a long corridor before approaching a grand door, which has a dagger-like handle that Macbeth monologues about. Tension is build in the editing through rhythmically cutting between Macbeth’s boots striding and his face, which is periodically shadowed and illuminated by the arches in the set design. This tension is then heightened as Macbeth draws his knife - which suddenly appears in his hands and resembles wolverine’s claws from the X-Men franchise more than a medieval weapon due to the lack of a handle and the sharp metal sound effect when it is drawn. Church bells ringing then further the rhythmic motif before Macbeth enters the King’s sleeping-quarters and the screen fades to black. Unlike the play, the murder is shown to the audience in a gory fashion - with the silhouetted Macbeth silencing the king with his hand and then piercing his throat as a few specks of blood splash on his face.

Going back to Orson Welles, the same pre-murder monologue is heavily stylised through the camera shifting in and out of focus as Macbeth delivers his lines. A voice-over is used instead of Welles performing out loud, which shows the internal conflict of Macbeth when combined with the camera zooming in on his eyes as his insanity and paranoia builds. Welles’ version also mirrors the play more closely by not depicting the actual murder on screen, which is also true for Kurosawa’s Throne of Blood, and instead shows Lady Macbeth (Jeanette Nolan) waiting for husband to return a killer.

Justin Kuzel’s 2015 attempt is then closer to Coen’s interpretation by gruesomely depicting the King’s murder through a high presence of blood, cries for help from the king, and repeated stabbing by Macbeth that makes the killing seem more like a crime of passion than a means to gain power. It also employs a similar editing technique by cutting away to Lady Macbeth praying in church and a panicked tied up horse rearing whilst the King is being attacked. This parallels soviet filmmaker Sergei Eisenstein’s montage technique of linking two images by cutting between them to create a new meaning, showing how the King is reduced to a restrained and helpless animal by Macbeth whilst juxtaposing his crime of murder with religion to make the act more sinister.

One of the reasons this scene is so effective when looking at re-interpretations is that as Shakespeare did not include the original death scene in his play - meaning directors are allowed to interpret their own version of the murder. The scene is also mainly comprised of action with no dialogue, meaning the story benefits from film’s uniquely visual form; whilst it may be difficult to depict such a horrific scene on stage, it can be recreated on film easily by using established methods of editing, make-up, and sound to induce fear in the spectator.

Seeing the Dead

Macbeth chasing a ghost, Apple.

Another significant scene that can be cross-analysed is when Macbeth sees the ghost of Banquo in the dining hall, who he ordered bandits to kill as to not disrupt his rule by knowing the prophecy. Due to the spiritual nature of the scene, each interpretation uses different methods to show Macbeth as haunted by his guilt.

In Coen’s version, we see a point-of-view shot from Macbeth’s perspective of a crow flapping past the entrance to the dining hall before the ominous stomping of the dead Banquo is heard as he walks past the archway. An insert shot of Lady Macbeth (Francis McDormand) looking at her husband’s blank face instantly creates a sense of worry in the scene. Before chasing after the spirit to confront it, Macbeth shouts and dashes his wine at the floor - resembling the blood that he spilled to gain his position. As he bursts open the room where the ghost is, we see Banquo swinging a fire torch in defence with the now shaky camera work and quick cuts creating a high-intensity atmosphere of panic. Then from Lady Macbeth’s perspective, we see a long shot of Macbeth fighting with a crow - which would be comical if not depicting the interior collapse of the protagonists mind due to guilt. However the inclusion of the crow ties the ghost to the witches (as we see three crows before meeting the witches) instead of Macbeth’s internal guilt which may be seen as possibly removing some of the meaning of the play.

Other adaptations the ghost is shown through very different methods. Orson Welles’ cuts between Macbeth’s vision of Banquo sitting at the end of an empty table to the real world banquet occurring. As the ghost passively stares out him, Macbeth builds up his anger to the point of flipping the whole table. Much like the wine in Coen’s version, the previous murders are referenced through the camera coming in and out of focus to call back to his pre-murder monologue and his overall feelings of guilt.

Kurosawa places the ghost in a gap between the King’s advisors where Banquo should be, behind a tray of food that was intended for the soldier when he returns to the castle. Much like the wood-spirit, he is dressed in all white to create a frightening ghostly appearance that causes Macbeth to cower into a corner and quickly run to his sword. The camera pans to track Macbeth instead of cutting back to the spirit, leading to a mysterious effect where the spectator questions what they saw like Macbeth himself.

In comparison to the emotive Welles’ version and high-energy Kurosawa scene, Justin Kurzel’s banquet scene is far less action-packet - which is strange for an interpretation that tries to bring the horror aspect out of every scene. Instead Banquo is shown sitting still, covered in mud and blood. Macbeth and Lady MacBeth softly deliver their lines, trying to preserve their appearance of innocence.

The set design of The Tragedy of Macbeth, Apple.

Comparing The Tragedy of Macbeth’s scene to the others also highlights how set-design is used in the film to create meaning, as the staggered archways that Macbeth runs through whilst chasing Banquo’s ghost parallels with his confusion and disorientation from reality by making the castle seem maze-like. Throughout the film there is an unreal sense of space created through both interior and exterior set design, with the castle where most of the narrative takes place being formed from colossal stone blocks and harsh geometric shapes. Although this could first be seen as linking with the German Expressionist movement that created depictions of psychological distress through it’s stylised set-design, the set of The Tragedy of Macbeth is far more solid than the flat and hand-painted German Expressionist backdrops. This leads to the castle feeling like a claustrophobic space, separating itself from the open stage of a theatre.

The Moving Forest

Leaves surround the throne, Apple.

Shakespeare’s finale mirrors the start of the play through the inclusions of a battle. However, this fight is to overthrow Macbeth and reclaim the throne. Macbeth is not initially worried by their invasion as due to the witch’s prophecy that stated Macbeth would be king until Burnham Wood came to the castle and that no-one born from a woman can harm him. However these two statement are then proven true, as the army uses branches from Burnham wood to disguise themselves as they approach the castle and Macduff who slays Macbeth is technically not born from a mother as she died in childbirth.

Coen first employs a visual metaphor in order to depict the army covered in branches, as when Macbeth goes to open a window to view his approaching enemy a flurry of leaves rush into the room and surround him - depicting the chaos in his head as the prophecies come true. When a soldier does come to face Macbeth, who is waiting patiently on his throne, Macbeth fights with a superhuman confidence: using his bear hands and tossing the sword back to his enemy after it is dropped. After defeating the soldier, Macbeth meets Macduff on the battlements of the castle - who reveals that he is not born from a woman as their swords clash. After Macbeth reaches down to pick up the crown that slipped of his head whilst fighting, Macduff delivers the final blow that severs the tyrant king’s head and causing the crown to fall off the castle. This ending shows that Macbeth’s obsession with power was his downfall, as even the symbolic representation of power that is his crown is enough of a distraction to cause his death.

Throne of Blood deviates the most from the play’s ending, with Kurosawa changing the final scene after learning about Orson Welles’ Macbeth and wanting to differentiate his version - showing how impactful previous adaptations can be to future ones. The army still uses wood as a disguise, emerging from the thick fog that surround the castle carrying whole trees to form a forest. However when they meet with Macbeth, they start shooting him with arrows. After Macbeth pleading it would be treason to kill the King - the crowd of archers respond that he committed treason by killing the king and all shoot an armies worth of arrows that Macbeth is unsuccessful in his attempts to dodge. Although this may seem an unsatisfying conclusion, it depicts the King at his lowest point in the film by being stripped of his power and trying to persuade his own army not to shoot.

by Oliver Spicer, April 2022.

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