At last we finally have a quality release of Orson Welles’ fascinating but ill-fated 1948 production of “the Scottish play”. After its negative reception, Welles would make only one more movie in Hollywood (TOUCH OF EVIL) and that was 10 years later. The 3 Shakespearean films have now resurfaced in close to their original versions. His restored 1952 OTHELLO was issued on DVD in 1999 but it lacks badly needed subtitles. A definitive new print of CHIMES AT MIDNIGHT (FALSTAFF) was issued a few years back by Criterion and now MACBETH receives the same treatment. This new Olive Films Signature Blu-Ray contains both the original 1948 “Scottish” version which looks remarkable and sounds even better with the Scottish accents and the 1950 shortened release print which has a more American sounding soundtrack. There are a number of bonus features including commentary from Welles biographer Joseph McBride.
For those of you who don’t know the film’s history, here’s a brief summary. Welles mounted his altered version of the play in Salt Lake City after talking Republic Pictures (known for westerns and serials) into financing a film version. The cost was to be around $700,000 and it was to be shot on Republic soundstages on a schedule of 3 weeks. Both goals were met. The Republic executives then previewed the original 107 minute version with Welles’ consent. The critics hated it, comparing it unfavorably to Olivier’s HAMLET which was released the same year. It was withdrawn and then cut down to 85 minutes with the dialogue re-dubbed from the Scots accents into plain English. This really hurt Jeanette Nolan’s performance as Lady Macbeth and she got withering reviews. Fortunately she went on to a great career as a character actress. The movie flopped and quickly passed into 16mm educational use which is how I first saw it.
Seeing the original version that Welles intended is a remarkable experience. Using his restrictions to his advantage, Welles created a Film Noir version of MACBETH which is how this version should be viewed. It combines Noir with elements of the “Voodoo Macbeth” that he did with an all black cast for the WPA in 1936. There’s the dark and moody photography, chiaroscuro lighting, and flamboyant editing characteristic of Noir. It also has the doomed protagonist (Macbeth), the femme fatale (Lady Macbeth), murder victims (Duncan & Banquo), and a character out for revenge (Macduff). The costumes are truly bizarre with one making Welles look like the Statue of Liberty. The cauldron scene at the opening is very effective as is the score by French composer Jacques Ibert. While it may not be the ideal cinematic version of the play, it is a dark and brooding opus that captures the theatrical Welles at the top of his game.
The Capsule Critic 