Macbeth

I have said elsewhere that only people who really know what they are doing should attempt to do Shakespeare. This also goes for the reviewers: only those who really know Shakespeare should attempt to review a Shakespeare production. Otherwise ignorance will make you say things that reflect as poorly on you as a poor Shakespeare production reflects on its creators.

Why are many people saying bad things about the Jason Connery Macbeth? Well, one reason is that the technical side of things is not in order. The available versions do not have a crisp picture or sound quality, and the movie is kept in a torch-light mood which under these conditions tend to smudge the colors and the light somewhat. Which is a shame, because if the technical things were in order, this would be a very good movie. The direction is good, the acting is impressive, and the overall style is effectively atmospheric. It is not as good as it might have been, but it is almost as good as the Polanski version, and has its own characteristic style. It is colorful rather than dark, but an effect similar to darkness is achieved by the production being dominated by reds, oranges and earth-tone colors, enhancing the torch-light mood. The milieu and costumes are realistic and convincing, and the Scottish accents are great. Macbeth with the proper accents is the only appropriate way to experience this play!

As I am a bit of an idealist, who tends to see a film in its (imagined) ideal version, I choose to look beyond the technical deficiencies of this movie, and judge it as if I had access to a crisp and perfect version. It is a worthy Macbeth in any case, all the more admirable for being a well-produced movie rather than a filmed stage play. It's really too bad about the technical defects; hopefully a more polished version will be available one day. But an enjoyable Macbeth in any case, and one that merits a good rating.

8 out of 10.

Fresh, luminous Helen Baxendale and the magnetic Jason Connery, a slightly more subdued, less craggily Celtic version of his famous dad, make a sexy pair of doomed partners in this low-budget Scottish production. Many ingenious touches, and some scenes, especially those leading up to the murder, among the most compelling versions of the play I have ever seen. A worthy successor to Orson Welles' cheeseparing lensing for Republic Pictures. Good stuff.

Every review I have read so far seems to have missed a crucial point. Shakespeare wrote for the accent and the pronunciation just as he did for northerners in other plays. The Scottish accent changes the emphasis and rhythm of the language and affects profoundly what is said and the way it is taken. So, listen again and note the difference. The play is well done and the rhythm of the words are so much better than that provided by people using received, polite, well- enunciated English. I am reminded of the time a teacher in a school in Leicester, unknowingly, asked me, age 14, to read a piece of Walter Scott which was written in the tone of the Border. I come from the Border and when I read it as it should be read it made all the difference.

From the opening title shot of a candlelit Sutton Hoo war helmet (many might wonder what a relic of the East Anglian Vendel culture is doing in the Scottish Highlands, but of course those searching in the dust for thorough historical accuracy in Shakespeare are always on a hiding to nothing - and doubtless the striking clocks in "Julius Caesar" hath made those people mad), and the stirring strains of the pipes, we are plunged into a "Macbeth" taking place in a Celtic twilight of hairy "Braveheart"-esque warriors and gloomy castles, well fitted to one of the most grim and gritty of the Bard's plays.

Old Shaky's story lines are well-known, so we may safely skip over the plot precis. Jason Connery takes time out from being known as the second (and second-best - nothing to be ashamed of as Michael Praed was so good in the role) Robin of Sherwood to give us a Macbeth believable as a seasoned warrior of Moray and trusty, if untrustworthy, vassal of an early mediaeval king. Helen Baxendale is as luminous and radiant as always, acquitting herself well with the accent, as my favourite Lady Macbeth (i have admittedly still to see Francesca Annis in the noted Roman Polanski version), swinging from highly-strung hysteria to sexy coquettishness as she lures her easily-swayed husband to do the deadly deed.

The other standout member of the cast is Graham McTavish (Warden 'Nicey' Ackerman to fans of sci-fi sitcom "Red Dwarf") as the indomitable Banquo. Good direction and striking scenery in authentic Highland locations make this a Macbeth that will not have viewers crying "Out, vile jelly!", as they may need their eyes in order to give it a deserved second viewing.

This low budget production of Macbeth brought the play back to life again and is by far the best version I have watched. Jason Connery and Helen Baxendale are superb in their roles and bring a humanity to their characters that makes you feel with them. There is solid support, in particular from Graham McTavish, Iain Stuart Robertson, Kenneth Bryans and Jock Ferguson is brilliant as the porter. Jeremy Freeman makes a good job of his directorial debut, and should go far. This film is well worth watching.