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Macbeth (1998): Starring Sean Pertwee & Greta Scacchi, Directed By Michael Bogdanov

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Macbeth (1998): Starring Sean Pertwee & Greta Scacchi, Directed By Michael Bogdanov

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Name:Macbeth (1998): Starring Sean Pertwee & Greta Scacchi, Directed By Michael Bogdanov

Infohash: E3CD10CBE606391F3EBD7772E9E10E7291C89930

Total Size: 701.52 MB

Seeds: 0

Leechers: 1

Stream: Watch Full Movie @ Movie4u

Last Updated: 2015-08-26 21:25:59 (Update Now)

Torrent added: 2009-06-06 12:40:01






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This is the first of a series of Shakespeare adaptations by which I am planning to upload. Following this release I will upload the English Shakespeare Company adaptations of Richard II, Henry IV parts 1 & 2, Henry V, and Henry VI parts 1-3 (adapted as two plays Henry VI: The House of York and Henry VI: The House of Lancaster). All are wonderful adaptations led by Michael Pennington and directed by Michael Bogdanov.



If there is enough interest in these releases I have a number of other rare and exemplary Shakespeare performances which I will continue to upload.



Anyway, here is the info for this release:



Title: Macbeth

Author: William Shakespeare

Year: 1998



Director: Michael Bogdanov

Producer: Sue Pritchard

Cinematography: Tony Coldwell

Sound Effects: Hilary Wyatt



Cast:

Sean Pertwee: Macbeth

Greta Scacchi: Lady Macbeth

Lorren Bent: Witch 2

Denise Black: Witch

Richard Coyle: Loon

Lorcan Cranitch: Macduff

Jack Davenport: Malcolm

Ruth Gemmell: Lady Macduff

Jane Gurnett: Gentlewoman

Lesley Joseph: Witch

Dorian Lough: Seyton

Philip Madoc: Duncan

Michael Maloney: Banquo

Shane Richie: Porter

Peter Theiss: First Murderer

Dorian Thomas: Ross

Steve Toussaint: Lennox



IMDB Page: http://www.imdb.com/title/tt0137927/usercomments



Review:



Mad Max Macbeth

© 2005 John Murphy

from http://www.bardolatry.com/macpert.htm



From the back of the box: Sean Pertwee plays the painfully ambitious royal who schemes to murder so he can ascend to the throne in this superior version of William Shakespeare’s literary classic. Spurred by the pressure exerted by his equally power-hungry wife, Lady Macbeth (Greta Scacchi), the Thane conspires to kill, but is so overcome with guilt that he’s unable to wash the blood off his hands—literally and figuratively.



I was aware of Sean Pertwee long before seeing his Macbeth. I first encountered the sandy-haired, gravelly-voiced actor as the honorable Hugh Beringar in the Cadfael mystery series starring Sir Derek Jacobi, and later as the eerily detached “Father” from the excellent (and criminally overlooked) action movie Equilibrium. My mom and two sisters took a fancy to his rugged features and mellifluous voice and so this movie was a must-see.



Macbeth as a post-apocalyptic action flick? Why not? It works. Though I confess I had to stifle a laugh on first seeing Macbeth and Banquo zooming about the blasted heaths on motorcycles. And after their encounter with the three witches, the weird sisters quite literally dissemble into the air, transformed via homemade computer graphics from grimy bag ladies into kitsch computer pixels. Again, I politely stifled a laugh. Ergo, I was pretty skeptical for the first twenty minutes or so, but was ultimately won over by the quality of the performances and the production’s cohesive vision.



Greta Scacchi dominates the first portion of the movie as the woman of “undaunted mettle,” Lady Macbeth. Scacchi plays Lady M. as on edge from the get-go, a neurotic and highly combustible force of nature. She’s sexy when she needs to be, but can turn on a dime and become a shrill-shrieking banshee as the occasion calls for it. Scacchi looked appropriately exhausted and spread-thin during the Act II, scene 2 nocturnal murder of Duncan . “My hands are of your color,” she says, heavy bags beneath her eyes, “But I shame to wear a heart so white.” And to a certain degree, she’s right. Up until that point, Lady M.’s been wearing the pants in the family.



Sean Pertwee struck me at first as a dull and unconsidered Macbeth, too ball-busted by his wife, too much posturing in Bono shades and leather jackets. A solid Macbeth, if not inspired. But Pertwee’s initially lackluster quality proves to be a canny, calculated move on his part. Because it’s not until Macbeth has killed Duncan that Pertwee really steps up to the plate and knocks it out of the ballpark. Suddenly, the tables have turned. Macbeth has found his manhood (heretofore questioned by Lady M.) through killing Duncan. He transforms from a meat-and-potatoes soldier under the thumb of his better half into a tyrannical Nihilistic monster. Pertwee, likewise, comes alive in the second half and commands the screen with his newfound intensity. Even Lady M. looks almost sick to hear her formerly “infirm of purpose” husband say later (in reference to the death of Banquo),



Come, seeling night,

Scarf up the tender eye of pitiful day,

And with thy bloody and invisible hand

Cancel and tear to pieces that great bond

Which keeps me pale! Light thickens, and the crow

Makes wing to the rooky wood.

Good things of day begin to droop and drowse,

Whiles night’s black agents to their preys do rouse.



Creepy. Macbeth’s transformation from loyal soldier to nihilist poet is complete. Meanwhile, Macbeth’s wife, neglected, takes to pill-popping and drinking to fend off impending madness. There are highly visible character arcs in this production. It’s a fresh and fascinating interpretation, and probably the most lucid reading of the relationship (read: power struggle) between Macbeth and Lady Macbeth that I’ve seen on film.



The director, Michael Bogdanov, puts different spins on canonical scenes. The ghost of the murdered Banquo appearing at Macbeth’s dinner party is given a classic treatment. Rather than cowering in fear and horror of the ghost, as in most versions I’ve seen, this Macbeth leaps onto the dinner table, pulls a gun, and starts unloading rounds at the specter. I half expected him to say, with de Niro-like relish, “You talkin’ to me? You talkin’ to me?” When the ghost disappears, Macbeth turns and says to his horrified wife, “Being gone, I am a man again.” That line leapt out at me like never before, and made sense like never before.



Threatened masculinity becomes a central theme in this production. Macbeth tells his wife early in the play, “I dare do all that may become a man. Who dares do more is none.” Lady M. acidly responds, “When you durst do it (murder Duncan), then you were a man.” The noble Macduff, Macbeth’s foil, learns of his family’s slaughter at the hands of the tyrant and openly weeps. Malcolm, true heir to the throne, tells him, “Dispute it like a man.” Macduff answers, “I shall do so; but I must also feel it as a man.” This production highlights the theme of manhood and threatened masculinity better than any others I’ve seen.



Appropriately, then, Pertwee plays a macho, swaggering Macbeth, determined to prove his masculinity. Macbeth’s last stand in the final act resembles Al Pacino’s gun-wielding Scarface, going down in a glorious blaze of bullets. High school teachers and university professors teaching this play and who are in search of good film adaptations should take note of this production’s accessibility and relevancy. As a male college student, I can vouch for being compelled by all the gunplay and macho posturing, as well as Macbeth’s rock star fashion accoutrements and a pseudo-techno soundtrack. Though I love both Orson Welles’ and Roman Polanski’s versions of the play, this adaptation would probably play better for younger audiences.



What the movie lacks in decent special effects it makes up for with intelligent and convincing characterizations by the actors and the visual imagination of the director. Like Welles’ equally money-strapped 1948 Macbeth, this version appears to have been produced on the relative cheap but compensates with a vim, vigor, and imaginative vitality that sweeps the audience along. Clocking in at a lean 90 minutes, this Macbeth breezes by in a flurry of sound and fury. I thoroughly enjoyed it.