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Comparison between Goold’s and Polanski’s Versions of Macbeth Film
Like every other play, William Shakespeare’s Macbeth is open to different interpretations and by different performers. Many people have taken the basic story and tweaked it to their suitability. However, it is the different stylistic approaches in the performance of the play that impact the audiences’ perception of events and characters. These creative differences are lucid in Act 3, scene 4 of Goold’s and Polanski’s versions of the play. While the facts are pretty much the same, the two versions tell a slightly different story.
In his version, Goold sticks to the script, however, adds plenty creative touches to improve it further. Such include, having Lady Macbeth give nervous stares to her husband while he is CONVERSING with the murderer and making the three witches serve the dinner. Not only does Goold do this exceptionally, but he does it without changing the script, thus not taking away anything from the work of the scene. Boldly, rather than making Banquo’s ghost sit with them at the table, he instead opts to have the ghost walk into the room, and on top of the table while staring at Macbeth. He further leverages many medium shorts to emphasize Macbeth’s reaction/body language. Besides, he utilizes a host of other techniques; rotating pan shots and dolly shots when Banquo walks on top of the table to add suspense, mystery, and creepiness to the scene.
Polanski’s version of the scene does not stick to the script. For example, rather than have Macbeth talk to the murderers after addressing the guests, he opts to have him speak to them before speaking to his guests. Given that Macbeth’s interruption by the murderer is a crucial aspect of this particular scene, its removal dilutes the scene. As part of his delivery style, Polanski utilizes many close shots to portray the fear in Macbeth’s face after seeing Banquo’s ghost. Ultimately, because of failure to stick to the script and lack of suspense, Polanski falls short of supporting the work the scene intended to create.
Both Goold’s and Polanski’s versions are exemplary works of art; however, Goold’s rendition of Act 3 Scene 4 stands out. This is mostly because his techniques created meaningful suspense and fully supported Shakespeare’s intention for the scene.