Shakespeare's Scottish play is a timeless piece of theater that can scarcely be done wrong. However many times one may see it, another rendition will always be worthy of our time. So it is here: What is riveting once is so again, and once more, and still again, and this 1979 TV movie of 'Macbeth' is outstanding.
The technical aspects of this production are of a curious nature. The play appears staged as though in a black box theater, a small enclosed space wherein actors approach and depart one another by a measure of steps, and all exit and entry from a scene is bathed in shadow or near-shadow. Bright spots and beams of stage lighting punctuate the darkness, illuminating one performer or a group - especially as the costume design largely nearly matches the black background in their hues - or signifying a doorway or change in setting with particular luminosity. Music is employed sparingly, and is not especially remarkable, but suits its purpose where employed.
Moreover, the camerawork for this TV record regularly focuses on a singular actor, even in scenes with multiple. For lack of scenery in the setting, truly constructing a theater of the mind, there's greater emphasis still on the players, who are typically the sole source of dynamics in this version. One may rightly question this manner or compare it with other depictions of 'Macbeth'; fit and intriguing for a genuine live theatrical experience, it is arguably less easy to engage with on a screen. Yet our attention is focused otherwise.
With all due consideration given to the performances of the cast, thankfully they are more than capable. There are some impressive, familiar names and faces appearing here, including Roger Rees as Malcolm, Bob Peck as Macduff, and Ian McDiarmid in a dual role as Ross, and the Macbeths' porter. The latter is notably delightful, as audiences are broadly unused to seeing McDiarmid in such an over the top, playful part. More than these, it's a pleasure to see Dame Judy Dench as Lady Macbeth, younger than in most of her well celebrated roles. We're accustomed to the force, ferocity, fluidity, and finesse that Dench imparts to her characters, yet with these she realizes the conspiring murderess with greater fire than I can recall of her elsewhere - and, as madness descends, greater delirious vigor.
Above all, Sir Ian McKellan is brilliant and captivating as Lord Macbeth, a man of grace, stateliness, ambition - and dread intent. Even more so than Dench, it's a strange sight to see an actor of such renown and repute at the age of 40 years, far more tender than in his most widely known roles. But it's a joy: Nevermind his countenance - we've never seen McKellan like this. In the excited steadiness marking the man's conniving resolve, and in the classic monologue at the finale, McKellan is entrancing. More than that: As Macbeth's mentation deteriorates with the commission of bloody deeds, McKellan roars with such vivid emotion and expression unlike anything we've seen of him before.
Special mention must be made too of Act IV, Scene 1: the famous ritual of the witches, and Macbeth's return to their counsel. As plain as the setting is for this production, this one moment looks and feels complete in its portrayal. Susan Dury, Judith Harte, and Marie Kean bring great life to the "weird sisters," and this scene is potent with electricity beyond just the performances of its players. Fine direction arranges the lines into a dynamism that Dury, Harte, Kean, and McKellan realize marvelously, with all due unease and disquiet - an atmosphere exceeding the more unembellished rising tension of the story generally.
The overall simplicity of the production that first greets us belies phenomenal performances, many from actors giving a part of themselves we're not used to seeing. There may yet be other renditions of the Bard's Scottish play that we each favor more greatly, but that doesn't make this any less worthwhile. While there are faults in its limitations - no matter how many others we've seen, this version of 'Macbeth' is very much worth seeking out to watch.
The technical aspects of this production are of a curious nature. The play appears staged as though in a black box theater, a small enclosed space wherein actors approach and depart one another by a measure of steps, and all exit and entry from a scene is bathed in shadow or near-shadow. Bright spots and beams of stage lighting punctuate the darkness, illuminating one performer or a group - especially as the costume design largely nearly matches the black background in their hues - or signifying a doorway or change in setting with particular luminosity. Music is employed sparingly, and is not especially remarkable, but suits its purpose where employed.
Moreover, the camerawork for this TV record regularly focuses on a singular actor, even in scenes with multiple. For lack of scenery in the setting, truly constructing a theater of the mind, there's greater emphasis still on the players, who are typically the sole source of dynamics in this version. One may rightly question this manner or compare it with other depictions of 'Macbeth'; fit and intriguing for a genuine live theatrical experience, it is arguably less easy to engage with on a screen. Yet our attention is focused otherwise.
With all due consideration given to the performances of the cast, thankfully they are more than capable. There are some impressive, familiar names and faces appearing here, including Roger Rees as Malcolm, Bob Peck as Macduff, and Ian McDiarmid in a dual role as Ross, and the Macbeths' porter. The latter is notably delightful, as audiences are broadly unused to seeing McDiarmid in such an over the top, playful part. More than these, it's a pleasure to see Dame Judy Dench as Lady Macbeth, younger than in most of her well celebrated roles. We're accustomed to the force, ferocity, fluidity, and finesse that Dench imparts to her characters, yet with these she realizes the conspiring murderess with greater fire than I can recall of her elsewhere - and, as madness descends, greater delirious vigor.
Above all, Sir Ian McKellan is brilliant and captivating as Lord Macbeth, a man of grace, stateliness, ambition - and dread intent. Even more so than Dench, it's a strange sight to see an actor of such renown and repute at the age of 40 years, far more tender than in his most widely known roles. But it's a joy: Nevermind his countenance - we've never seen McKellan like this. In the excited steadiness marking the man's conniving resolve, and in the classic monologue at the finale, McKellan is entrancing. More than that: As Macbeth's mentation deteriorates with the commission of bloody deeds, McKellan roars with such vivid emotion and expression unlike anything we've seen of him before.
Special mention must be made too of Act IV, Scene 1: the famous ritual of the witches, and Macbeth's return to their counsel. As plain as the setting is for this production, this one moment looks and feels complete in its portrayal. Susan Dury, Judith Harte, and Marie Kean bring great life to the "weird sisters," and this scene is potent with electricity beyond just the performances of its players. Fine direction arranges the lines into a dynamism that Dury, Harte, Kean, and McKellan realize marvelously, with all due unease and disquiet - an atmosphere exceeding the more unembellished rising tension of the story generally.
The overall simplicity of the production that first greets us belies phenomenal performances, many from actors giving a part of themselves we're not used to seeing. There may yet be other renditions of the Bard's Scottish play that we each favor more greatly, but that doesn't make this any less worthwhile. While there are faults in its limitations - no matter how many others we've seen, this version of 'Macbeth' is very much worth seeking out to watch.