Deleuze is right in summarizing the main accomplishment of this Shakespeare transfer onto the screen, claimining that it visualizes pre-history and pre-conscious drives. Ferocious in its intoxication with power it portrays a feverish Macbeth who like a black hole devours an entire Kingdom. The canted camera angles brim with aggression and the edges of the rocky shore enhance this claustrophobically primordial milieu.
You already survived 10th grade, so why revisit Macbeth? Because of Welles. His command of imagery is here, but tragically stage-bound—much of it feels like a pageant, which is the enemy of drama, whereas the montage and location shooting of his Othello send sparks in all directions. But then you have to add Welles' outstanding performance itself, the dark pathos of a wide-eyed man frightened of his own desires.
Versión expresionista la de Welles que revitaliza los conflictos internos de un noble caballero. "Macbeth" es la historia de un hombre que transita de la honestidad a la ambición, de la culpa a la perversión, y finalmente cae presa de la locura. El poder visual es el espíritu de esta película sobre mentes que dudan (picados) y mentes que conspiran (contrapicados). Mientas tanto, las luces y la sombras crean dualidad.
I wish I could bump my rating up to four but I can't quite. The photography creates a stunning atmosphere but I never felt that I was in this world, I always felt like an observer. Welles directs fantastically but the performances are really very strange. Flashes of absolute brilliance but never quite works. 3.5/5