Macbeth Movie Critical Review

Charles Spencer

Ms. Peifer

English 10 IB 4^th Hour

April 11, 2011

                                                     2010 Macbeth Film Critical Review

           The 2010 film adaptation of William Shakespeare's historic tragedy, Macbeth, is a well-organized work of theatrical art. Directed by Rupert Goold and starring Patrick Stewart and Kate Fleetwood, the film adaptation surpasses the expectations held to a re-imagining of a stage classic. While not free of shortcomings, Goold's vision successfully shines through in his creative modern imagery, ultimately creates a bone chilling rendition of Macbeth for today's generation.

           Goold's version of Macbeth, released in 2010, reaches success in uniquely portraying the protagonist by modernizing the setting and context of the story. He uses modern wartime imagery to mirror the original images used by William Shakespeare, making the plot more easily understood to the viewers of today's generation. The film is set in World War I Soviet Russia, as apposed to medieval Scotland, and changes elements from the original story to fit the new time line. By Goold using the Soviet era, he mirrors the warfare of old Scotland, using modern weapons, locations, and occupations to tell the story of Macbeth in ways more understood by younger viewers.

           Perhaps the most successful modern image used by Goold is his interpretation of the Weird Sisters as war nurses. In the original play, Shakespeare portrays the witches as evil and eerie by their actions, which at the time would seem to be so. As standing over a flaming cauldron chanting folklore would make much of today's youth think of a magical fantasy, Goold modernized the witches actions to mirror their original portrayal. For example, when Macbeth sees the witches the final time to assure himself of his safety, they are seen poking and prodding with dead bodies, an action seen most eerie in popular culture today. Not only do these nurses make appearances throughout the film as the Weird sisters, they are also seen throughout where not seen in the play, however only to be seen by Macbeth and the audience. Their unscripted cameos substantially add to the image of their presence and power over Macbeth.

           Goold's modernization of Shakespeare's images is successful for the most part, however the main cons of the modern images are that the effect of some of the dialogue in Shakespeare's original rendition is lost. The use of modern props, locations, and time lines conflict with the still strictly Shakespearean script, making some of the script obsolete, and at times the setting has to stretch too far to match the script. Most outstanding, the use of modern weapons does not match the script. Many of the characters' weapons are replaced with guns and daggers, which severely takes away from the epic effects of sword battle, especially in the last battle between Macduff and Macbeth where daggers are used.

           When reinventing a classic for the silver screen, there are several things that can go wrong, especially when this classic is a theater work of William Shakespeare. Despite this, Rupert Goold recreates William Shakespeare's Macbeth with the help of a strong cast including Patrick Stewart and Kate Fleetwood. Instead of simply recreating the setting of the play, Goold takes a chance by modernizing the setting and the characters, and while some of the strength of Shakespeare's dialogue is taken away in the process, the ending result is a beautifully put together representation of Shakespeare's prowess as a playwright.

LRJ & Character Journal 1: As You Like It

Charles Spencer
Ms. Peifer
English 10 IB Hour 5
April 6, 2011
       
 

Image Pattern: Court vs. Country, Act 1

Perhaps one of the constant patterns of imagery seen through As You Like It is that which compares the Court life, and the Country life. Act one contains only small references to the country, as most of it takes place in a Court setting. The references to the Country provide vague descriptions of it, which in contrast with the descriptions of Court life, provide the readers with an implied sense of how the characters in the play see the two lifestyles differently. “They say he is already in the Forest of Arden...they say many young gentlemen flock to him everyday and fleet the time carelessly, as they did in the golden world” (Shakespeare 1.1, 113, 115-118). Here portrayed as a place where time is meaningless as in the 'golden world', the Country is shown initially as a relaxed and freeing environment. Despite how lush and pleasurable the forest is described, it is implied that Duke Frederick does not share the appeal for the Country life, as he selfishly desires the Court, “...three or four loving lords have put themselves into voluntary exile with him, whose lands and revenues enrich the new duke. Therefore he gives them good leave to wonder” (Shakespeare 1.1, 99-103). Duke Fredrick’s influence on the old lords leaving in wake of Duke Senior shows the other view on Court vs. Country, in the side of those, like Duke Fredrick, who clearly favor the Court life; going through such lengths to achieve it.

   Dear Diary:
                                Dreadful be the day that any gentleman finds himself short enough on words that he must do as I am doing right now. I say to you, this woman was lovely, and sacred became the ground on which she stepped. Yet wretched Cupid held my tongue in her sight, perhaps, I fear, even to the point of my dear lady's annoyance. Alas, desperately I prithee not to see me has a fool, nay a coward, for I am not the man to blame. Tis indeed the fault of my fiendish brother Oliver; in his acts of denying mine education he hath indeed ruined my life thus far. Ah! And to listen to mine bantering and getting ahead of myself when it was mine intention to indeed share who I am with my soon to be devout readers. My name is Orlando, the son of ever noble Sir Rowland deBois, may he rest in peace. Throughout my father's great life he built up a great deal of wealth and land, a share of which should have been mine at his death. Now, as a result of Oliver's jealousy, I have been left with nothing. I have now independently departed from mine brother's estate, in order to get what I have desired, the education true to that which is deserved by a gentleman. Thus far, I am by myself, with only my strength as the wrestling champion to go on. I am growing in strength and independence through this journey, as I go out to seek my gentleman's education. 

LRJ & Character Journal 2: As You Like It

Charles Spencer
Ms. Peifer
English 10 IB 5th Hour
April 7, 2011

Image Pattern: Court vs. Country, Act 2

The image comparing the Court and the Country is perhaps the strongest and most frequent in act two. The Country lifestyle (that of the inhabitants of the Forest of Arden), when being compared to that of the Court of the dukedom, is shown with a positive response from the characters, also dismissing misconceptions about the Country. The strengthening of the positively portrayal of Country influences the reader to emotionally respond to the characters inside the Forest of Arden. The strong opening monologue of the act by Duke Senior, one to influence his followers to cope with the situation positively, openly compared the life in the forest to that of the dukedom in the Courts,

...Hath not old custom made this life more sweet than that of painted pomp? Are not these woods more free from peril than the envious court? Here feel we not the penalty of Adam, The seasons' difference, as the icy fang and churlish chiding of the winter's wind, which when it bites and blows upon my body even til I shrink with cold, I smile and say “This is no flattery. There are counselors that feelingly persuade me what I am.” Sweet are the uses of adversity, which, like the toad, ugly and venomous, wears yet a precious jewel in his head. And this our life, exempt from public haunt, finds tongues in the trees, books in the running brooks, sermons in stones, and good in everything

(Shakespeare 2.1, 2-17)

This description of the Country as apposed to the Court is the most straightforward in the play, using direct comparisons to deliver the message to the reader that the Country life, like that in the Forest of Arden, are to be shown in a new supporting sense, reaching out to the audience of Shakespeare's time almost appealing for the country. The audience is further drawn into the re-imaging of the Country through the disproving of stereotyped behaviors in The Forest of Arden, “...Pardon me, I pray you. I though that all things had been savage here, and therefor put I on the countenance of stern commandment” (Shakespeare 2.7, 111-114) Duke Senior's words are also the first legitimate indicator to the reader that characters in the play have bias towards which setting they find better; Duke Senior is the first character to show in direct word which is preferred and why.

Dear Diary:
             I, Orlando, son of the noble Sir Rowland Deboys, am tired. What mystical force be this! And yet again my avid diary, I have promised not to get ahead of myself, and as it is unbecoming of a gentleman to rant to a mere lifeless book, I shall keep these little palavers of ours rather short. Well, so here I go.
             Ever since I heard of Oliver's foolish stratagem to be aimed at me, I have been far away from the Court. I am now in the Forest of Arden, after having departed. Oh such happenings I have been hit with! Adam took ill from starvation and as I fetched food for him, I resorted to violence to achieve my goal! Soon did I find out that my actions of violence were unnecessary in the forest, and now I shall know for the better. I encountered the exiled Duke, he indeed knew my father! I have made friends this day! Now, as all is said and done with the Duke, I must admit I have had her dear lady in the back of my head for much of the day, I fear I have seen the last of her. I prithee Lord, let me have her!

LRJ & Character Journal 3: As You Like It

Charles Spencer
Ms. Peifer
English 10 IB 5th Hour
April 7, 2011
 

Image Pattern: Court vs. Country, Act 3

Throughout the third act of As You Like It the Court vs. Country themes remain similar to those of the previous two acts: to ridicule behavior of Country dwellers compared to those of the Court, to disprove misconceptions about country dwellers, and to simply compare the two, showing outstanding differences.

“...but in respect that it is private, it is a very vile life. Now in respect it is in the fields, it pleaseth me well; but in respect it is not in the court, it is tedious” (Shakespeare 3.2, 16-19) Touchstone is one of the most compelling characters in As You Like It as his dialogue switches constantly from side to side of a topic, such as living in the Forest. Here, as he is asked by Corin how he feels about the shepherd's life, Touchstone, being a member of a Court, compares it to the Court life. Here the Court is described as a place of no privacy, which is negatively expressed by Touchstone, and even though the Forest of Arden is beautiful, it is ultimately not the Court. Touchstone's indifferent attitude makes a division clear as to who comes from the Country and who comes from the Court.

“Those that are good manners at the court are as ridiculous in the country as the behavior of the country is most mockable at the court” (Shakespeare 3.2, 45-48) In Corin's rebuttal to Touchstone, he provides this explanation of the difference between the people behind the Country and the Court and how they relate to each other. This is not only to show that the Country and Court are different, but in addition how the mockery that may come from the Court can be equally achieved of the Court in the Country; which is the main purpose of the Court vs. Country imagery.

Dear Diary,
                Anon, it is your old coz Orlando; son of Sir Rowland deBoys I remain, so I fail to see the purpose in repeating myself to you several times in a row! As of this point in my epic story as a lover, I have fallen victim once again to mine heart! I have been found all around the Forest of Arden spreading professions of my love toward Rosalind, oh sweet Rosalind; what I would not give for Rosalind! And yet through my desires I was scolded by this young beautiful man Ganymede! I want my love so much I am willing to serenade this Ganymede as my Ros as she will teach me to get over my love sickness. Aside from Ganymede, I met a rather distasteful fellow, Jaques, for whom I share no affection. I am becoming more dumbfounded by this love every day, as my speech becomes more soft for my love, and I publicly spread my feelings for her.

LRJ & Character Journal 4: As You Like It

Charles Spencer
Ms. Peifer
English 10 IB 5th Hour
April 7, 2011

Image Pattern: Court vs. Country, Act 4

The images of Court vs. Country in the fourth act of As You Like It are far more subtle than in the previous acts, and focus more on the typical actions of people in the Court vs. the Country.

“You have simply misused our sex in your love-prate” (Shakespeare 4.1, 214-215) As ladies from the Court, Rosalind and Celia's behaviors reflect those of women from the Court. Here, in Rosalind’s dialogue as Ganymede with Orlando, she depicts woman and their actions as fiendish and unfaithful. Celia's words of discontent towards Rosalind show how ladies of the Court value acting the opposite way of how Rosalind described; thus giving more definition to actions specific to people of the Court. Rosalind continues to Silvius in the next act display Ganymede's view of a country woman, “...I saw her hand. She has a leathern and, A freeston-colored hand. I verily did think that her old gloves were on, but twas her hands” (Shakespeare 4.3, 26-29). Rosalind as Ganymede's dialogue here is to further define how she sees Country woman in contrast to herself and Celia.

Dear Diary:
                 How is a young man like mineself to know all of the necessities and things required of a gentleman had I never received one's education? Alas I tell thee my diary, I, Orlando indeed, have nearly lost my chance with Rosalind. Most strange it would normally seem for me to have so much to care about for a simple man, yet there is something about him. I, at this point in time, remain in the Forest of Arden, whereat luck and God's blessing has been bestowed upon me. Even though I was late as a man and a failed lover in the eyes of Ganymede, I was still able to woo him as my Rosalind; a woo which he returned to me.
                It was at this pint in time that my luck ran out. I ran across my brother, Oliver, eldest son of Sir Rowland deBoys. He was being attacked by a snake and lioness, and as I saved him, mineself was injured in the flesh. After such an event I do not expect my Ganymede to be my Rosalind, and yet, I know he is. I feel as I have also changed through saving my brother; my anger towards him is no longer present, and he embraces me as his brother.

LRJ & Character Journal 4: As You Like It

Charles Spencer
Ms. Peifer
English 10 IB 5th Hour
April 7, 2011
 

Image Pattern: Court vs. Country, Act 5

Act five of As You Like It continues the image pattern of Court vs. Country just as all of the previous acts in the play; however it is much more similar to the subtle style of act four, while still focusing on new attributes of the Forest of Arden

“...there is a youth here in the forest lays claim to you” Here, whilst Touchstone explains to his love, Audrey, that there is no need to hurry in getting married, he shows the magic of the Country as apposed to the Court as the Forest of Arden is magical, and youth perpetuates inside it.

“This is the motley-minded gentleman that I have so often met in the forest. He hath be a courtier he claims...If any man doubt that, let him put me to my purgation” (Shakespeare 5.4, 42-45) The Final outstanding show of Court vs. Country is shown in the display of exclusivity in the court life. Here, Touchstone shows his intelligence and cunning to prove his status as a true Courtier to the others. This shows how courtiers are portrayed as more proper and intelligent than Country dwellers, whether or not it is disproved by the other characters.

Dear Diary:
                  Come to an end mine strife in love has. I am now the lover of Rosalind, and although I am one of many in a new marriage of happiness, I feel this to be the most special of all. I, Orlando, have married Rosalind, who was indeed disguising as Ganymede; a fact which I feel I have always known on some level. Soon returning to the Dukedom will we be, as land we have been granted. Sir Fredrick has recognized the error in his ways and now that Oliver has no ill will towards me I shall live in no strife in the future. This may indeed be the last entry into your delicate pages anon, however I prithee to be here whilst I may need you. This has been a most interesting journey, and as I may say, it was the damn strangest thing a man can ever go through. However, we all must remember that all the world is a stage and we are all but merely players in this theatrical production. I must say, my flight to find Rosalind was most surely full of theatrics. 

Macbeth LRJ and Character Journals: Act 5

Charles Spencer
Ms. Peifer
English 10 IB 5th Hour
March 15, 2011

Notes on Act 5 Reading:

•  8 short scenes show upon first look at act that it is faster moving than the preceding events in the play, with the foreshadowing in the end of act 4, more action and violence oriented. 
• "A great perturbation in nature..." (Shakespeare 5.1, 9) Dialogue from doctor, continues long lived theme throughout the whole play that nature is a constant, and is interrupted by abnormal occurrences, such as Lady Macbeth sleepwalking
• Lady Macbeth being seen by one of her own ladies in waiting shows the seriousness of her mental condition, as before Lady Macbeth went to great lengths to hide her husbands hallucinations of ghosts from his own lords.
• Lady Macbeth's subconscious mind is being destroyed by the massive disturbances in nature, ultimately caused by her murderous acts against nature itself. 
• Her demands of 'Out Out!' foreshadow that she is reaching the end of her rope in terms of being able to deal with these murders, as she almost orders away the demons.
• Macbeth has been crowned the tyrant, a perfectly descriptive title given based on all of Macbeth's horrendous actions. 
• Macbeth certainly has that false sense of security Hecate wanted him to have. 
• The witches metaphors are revealed as the army bears trees in front of each one of them, also symbolically displaying their strength in numbers as they can appear to move a whole forest. 
• Lady Macbeth dies as foreshadowed by her seemingly insane behavior in scene 1.
• Macbeth essentially throws in the towel, and proclaims that he is done and 'tired of the sun', and will resort to die fighting, as at least he will die.
• Macbeth still believes no man of woman can harm him, therefor his tyrannical warlike abilities are shown on off on the battlefield.
• Macduff strikes down Macbeth, as he was not born of woman, he was 'ripped from the womb' (c-section?)
• Malcolm to become king
• Macbeth has his head cut off in the way of Macdowell, the way of the traitors. 
• Lady Macbeth's suicide revealed. 

Imagery Pattern: Sleep

"A great perturbation in nature, to receive at once the benefit of sleep and do the effects of watching" (Shakespeare 5.1, 9-10) Throughout the entire play sleep is used as a reference point to show either turmoil or peace that one experiences through the image of sleep as a peaceful escape. In the doctor expression of awe to the sight of Lady Macbeth sleepwalking, he uses the image of sleep to image the natural norm of occurrences, one of which is not sleep walking. The sense of awe the doctor exhibits shows the extreme nature of these conditions in Lady Macbeth, foreshadowing that she is possibly near death.

"...here she comes! This is her very guise, and, upon my life, fast asleep..." (Shakespeare 5.1, 19-20) Sleep's image here is clearly shown as what sleep is portrayed as today in popular culture: utter unconsciousness. Sleeps alternate image is used here to show that Lady Macbeth finds no peace in this sleep, and it is in no means an escape for her, she is merely unconscious, which her gentlewoman advocates to the doctor as means for which her sleep talking can be described as strange.

Character Journal: Lady Macbeth
         Well hello my beloved audience, I must first of thank you, for following me, Lady Macbeth, right to my very end. I am currently addressing you from my own coffin, which I reached from my own hands. As I was seen by you my audience and my own gentlewoman, I have gone insane, walking in the night, seeing my actions, and even speaking aloud of what I have done. Too ashamed I must have been, or that at work with my fragile mind, which could not bare knowing what I have done. I did not see my husband since we spoke after the banquet with his lords, and I just wish I could have died with him, as it would have been in death that we could have escaped this life we have made so awful for ourselves. However I ended how I began, merely a woman, incapable of handling my own actions long gone. It is now over. I Lady Macbeth, took my own life as I took those of the innocent.