In this version we are immediately positioned behind macduff and his men showing us that Wright wants us to think of Macbeth as a villain fighting against macduff. They are coming down steps into a basement to show that Macbeth is a coward who is hiding underground like a terrorist. When they fire into the basement they shoot some wine cases which spill out on the floor showing that they are there to spill Macbeth’s blood. The characters are all wearing leather giving this scene a gangster, tough type of impression. Macbeth and Macduff brawl with no weapons showing the fight is unclean and dishonourable. the only music used is just when Macbeth is stabbed by macduff and features high register glissando with discordant tones on violin creating a piercing sound and making the responder uneasy. This is to show us how Macbeth would be feeling at this point and we see him come to the realisation that he is going to die. He then stumbles back up stairs to the bedroom to where is death wife is lying he half collapses onto the bed and leaning over her, kisses his wife this shows us that despite everything that has happened to and between them he still has some love for her. Macbeth then dies beside his wife and macduff and his men enter the room and one of then spits on Macbeth showing the absolute disrespect that they had for him. The scene ends with the man who has spat on Macbeth smirking to himself showing that he is glad Macbeth is dead.
Macbeth is clearly displayed as a villain/terrorist in this version.

In this version of Macbeth in the opening shot we are positioned by a point of view shot from Macbeth to look down on Macduff. This instantly shows us that Macduff is going to be the weaker and lower person in this fight with Macbeth we then see Macbeth through a point of view shot of Macbeth standing at the top of a flight of steps which is made to look almost like a podium for Macbeth showing his power and control at this point. Then as Macbeth begins to descend down the steps we see that while he has committed the crime of stabbing the king in his sleep, he is still has enough honour to even the playing field so that he and macduff are fighting on the same level.
Macbeth and Macduff then begin to fight one another and while they are fighting macduff hits Macbeths breast plate to no effect which shows Macbeth’s belief that he is invincible. Macbeth then cuts macduff’s cloth, family seal breast plate in the same way showing how Macbeth has destroyed his family. They fight in a very uncivilised and rough manner as though they are merely young children brawling over a petty dispute that, while slightly comical to the eye, shows a certain childlike innocence of the two men. It also shows that they fighting whole heartedly and not letting the honourable and civilised style of fighting get in the way of their reason for fighting one another. When Macduff is knocked down by Macbeth who then holds his sword to macduff’s neck and says “my soul is too much charged with the blood of thine already” shows that while he is about to loose everything he still has compassion enough to spare Macduff.
The is an overcast but natural light from the sky which leaves a depressing and gloomy feel to this scene indicative of the nature of the battle. This fight takes place in a courtyard with only a small amount of room whose space is limited even further by a large crowd of soldiers
In this scene the camera is placed mostly in the same spot but is spun around as the characters move giving a spiralling, circling feel as though everything is moving into the centre and one outcome like water spiralling down a drain. It has an encroaching feel as though the walls are closing in around Macbeth.
When Macbeth realises macduff was not of woman born we see a close up of his face and his expression showing his sudden awareness that he is not as invincible as he once believed. We then see, over Macbeth’s shoulders, the crowd of soldiers slowly push in towards Macbeth showing his inevitable death pushing closer towards him as his world slowly falls apart.
There is then more fighting between the two men and during the fight Macbeths stolen crown is knocked from his head and after more brawling Macbeth stumbles, picks up the crown, sits down and ‘plonks’ it on his head as a sign of his ambition as, although he knows he will be killed, he still has his everlasting desire to be the king.
Macbeth is later stabbed macduff from behind and as he is falling back which unquestioningly invokes as sense of sympathy for Macbeth and a sense of villainy for macduff and leaves us asking ourselves how even he could stab a man in the back from behind. Macbeth then climbs back up the steps again a sign of his ambition where he is followed by macduff who cuts his head off on the top of Macbeths ‘podium’ staining the wall of the steps red with Macbeths blood. His head falls down the side of the wall and rolls away across the ground with the crown still on showing that although Macbeth died, he died as a king.
I believe that this version makes Macbeth seem a hero no (freakin) questions asked

Geoffrey Wright :-
A dark and gloomy night welcomes the scene, an eerie feeling spreads itself and as each side arm themselves with weapons, thoughts of war, pain, destruction and terrorism fill your mind. Wright places Macbeth inside his house, madly shooting at whoever comes near. This places him as a terrorist, ridden by madness and undeterred by the pain he is causing those around him. The music and sound effects lengthen the battle whilst the camera unsteadily follows the victims of Macbeth’s fire.
As Macbeth continues to kill, the notion of a terrorist continues to unfold, his situation continues to worsen yet he will stop at nothing to defend himself and his crown. As he confronts Macduff, the fight is much more brutal than the Polanski version, contributing to the notion of Macbeth being a terrorist, as he continues to display his anger rather stubbornly instead of being understanding of his consequences.

Trevor Nunn :-
A dim shade of light passes across the gaunt face of Macbeth as he delivers his verdict of events. This pool of light plays across each characters face, hiding their features and then showing them again. As the stage around them is dark, our attention is therefore always set on their figure, whether it is a silhouette in the gloomy darkness or a pale faced figure for all to see. Nunns’ usage of the light and stage creates a much darker context than Polanski. Macbeth is shown as being much more insane, confounded by the bells ringing around him almost like those of a funeral – awaiting his death.
His mental instability continues to engulf him, clutching his leather doll like a lost child, sweating in fear and exhaustion and unwilling to die heroically and fairly. He fights with tired hands, defending a stolen crown and hanging on to his unrighteous reign of a country he has painfully destructed. The viewer does not see his death, as if the last moments of his life are not worth viewing and he does not deserve to be seen as a hero. Nunns clever use of the bloody swords at the end signifies the end of Macbeth’s reign, and as they are held next to the crown in a bright pool of light, the end of the horror and terror of Macbeth are now gone leaving the crown to be held in safe hands.

Nunn’s portrayal of Macbeth highlights many unheroic qualities and turns us to interpret Macbeth as having a villainous downfall. The heart like pulsing light casts deceptive shadows upon the faces of Macbeth and Macduff. This shows flashes of their emotions but not enough to fully construe their train of thought. The small leather doll (reminiscent of a voodoo doll) that Macbeth clutches and whispers to, emphasises his progressive madness. Macbeth’s consideration of suicide is quickly changed to anger and Nunn replicates these feelings through Macbeth’s actions. Grasping the sword and placing it to his neck, Macbeth ponders what is to come. However his arrogance and ambition plays upon his conscience and he decides that ‘The gashes do better upon them’ (2-3, 5, 8).
Nunn’s exploration of Macbeth’s ambition and pride reflects onto how he directs. He directs making Macbeth stand with a high head and strong movements to show his ambitious self confidence. However as the fight progresses and as he loses hope to live his movements become uncoordinated and less pronounced. Even his facial expressions change from strong and slightly sadistic to more melancholic and weak.
The tolling of bells and echoing church organs create an atmosphere of death and the end. The clinking of swords and daggers are in resonance with the speech if Macbeth and Macduff. As Macbeth slowly realises his demise Macduff toys with his pride keeping him from yielding. Nunn does not show Macbeth’s death but focuses upon the freedom of the country after being trapped within a sinister and deceptive king. Upon Macbeth’s death we see the relief and surprise in Malcolm, Siward and Ross’ eyes. The play is then concluded with the major themes of the play, the Crown symbolic of power and hierarchy and the bloody daggers representing death and pain. Macbeth is portrayed as an ambitious and deceptive character leading us to see him in a more villainous light.

Geoffrey Wright’s depiction of Macbeth’s death portrays Macbeth as villain or terrorist, not a hero. First of all Macbeth’s last stand is filmed in a dark, and dank storage place and this immediately positions the reponder to associate Macbeth with the stereotypical villain who prowls in dark places. Macbeth does not face his attackers head on but lurks in the darkness, picking off soldiers one-by-one which is in stark contrast to that of Polanski’s fight scene where Macbeth squares off with his enemy in fair terms. This is not a noble or heroic way fight, which differs to the way Polanski has depicted Macbeth’s last stand. Wright’s Macbeth is seen to lure his opponents into a dark place suited to those who use the darkness to their advantage. Another obvious technique used by Geoffrey Wright is the way MacDuff and his soldiers as seen as climbing down a set of stairs into the darkness, as though they are descending to Macbeth’s level which is one of evil and wickedness. Also just before they begin fighting, MacDuff switches on a light in the cellar as though lighting the darkness, which can be a metaphor for good illuminating evil.
Geoffrey Wrights version is also the only one in which Macbeth does not spare MacDuff at one point only to be killed by him soon after. In this version Macbeth fights desperately until the end trying feverisly to kill Macduff, and does not show any sign of fighting like a noble.
After he has been stabbed by MacDuff he ascends a set of stairs to die next to his wife in a well lit room. This hints that with Macbeth and Lady Macbeth’ death, the darkness is lifted and light and goodness is restored.
This version also evokes a sense of inevitability of Macbeth’s down fall more so than the others. In the other clips the viewer is led to think that Macbeth still has a fighting chance, as he is only fighting MacDuff in an even battle. But in this version Macbeth is pitted against many foes, this can be interpreted as though he is evil and is not deserving of an even battle, more so that he should be exterminated.
For these reasons, this version of Macbeth clearly portrays Macbeth as a villain and terrorist rather a Hero, which In the words of the Oxford dictionary is noble, displays courage and is admired for this.

Hero to Villain Spectrum
Hero————————–|———–Villain
Macbeth

Trevor Nunn:

I found that Trevor Nunn’s depiction of Macbeth also portrays Macbeth as a villain or terrorist rather than a hero. A lot can be said about the good or evil state of Macbeth with comparison to the other characters present in the scene. In this version only Macduff is present and we can compare the two to show wether Macbeth is shown as a villain and terroist or a hero. At the beginning of this clip MacDuff is illuminated and filmed from below, making him seem more heroic or pure than Macbeth who is filmed from above with little light. Also Macbeth is depicted as almost mad, muttering to a doll he caries and often smiling even at a time of great danger. When he strikes MacDuff down by knocking away his shield he smiles broadly and laughs to himself. This also fits the stereotypical mould of a villain or terrorist who enjoys inflicting pain or killing. Macbeth slurs and stutters his lines almost as though he has become a madman, this is far different to Polanskis version in which he speaks confidently and honourably. True wickedness is plain across Macbeths face though out this scene and this illustrates him as villian. In comparison Macduff is calm and after slaying Macbeth is dumbstruck and in shock staring blankly as he pronounces Malcolm King. By depicting MacDuff and Macbeth this way Nunn has created a clear contrast between these characters, and has created a hero and a villain.
MacDuff’s costume contains another hint to the villainous state of Macbeth. He wears a white piece of clothing underneath his black costume which creates a white strip visible at his neck, similar to that of a priest’s collar. This may mean we associate MacDuff with purity and that of the opposite with Macbeth.
The setting as throughout Nunn’s version of Macbeth is simply and illuminated part of the stage and the floor is rarely shown so all the viewer can see is characters and darkness. This simple techniques sets the mood for every scene in this film and the film as a whole. This is one of evil, wickedness, treachery, and all the other bad things we associate with darkness. This reflects back on Macbeth who is clearly illustrated as a villain.

Hero to Villain Spectrum
Hero——————————-|——Villain
Macbeth

Roman Polanski:

This version of Macbeth’s death clearly portrays Macbeth as closer to a Hero than a Villain or Terrorist. In this version Macbeth descends a set of stairs at the beginning, by which to even the battle, and thus lose his advantage. This can be seen as noble and thus pushes Polanski’s Macbeth towards the Heroic side. Through out the scene Macbeth and Macduff fight evenly without interference from the crowd of soldiers around them and as equals. This helps to portray Macbeth as a Heroic character fighting for his life and crown in an even battle. It is set in a castle, yet it is in a bright courtyard, which is a massive contrast to that of the Nunn and Wright versions which are both in dark and gloomy places which evoke a feeling of intense enclosure. This has a greater effect on the characters portrayal than often is credited for, apart from the obvious stereotypes of villains who dwell in dark places. It also changes facial expressions and with additional lighting can change the whole demeanour or aura of a character completely. In this version, it makes Macbeth’s armour shine and his face and presence seem less menacing than that of the other two versions. This for obvious reasons portrays him as a hero not a villain.
In this version Macbeth also fights calmly and not like feverish and desperate Macbeth portrayed in the other versions. When he knocks Macduff to the ground and points the sword at his neck only to soon pull away, he says “my soul is too much charged with the blood of thine already” in a way as if he knows his actions were wrong and cannot bear to kill him after killing his wife and children. This illustrates him as a tragic hero who knows he was committed bad deeds and is still sane enough to feel bad for doing so. This is once again in stark comparison to The Nunn and Wright versions in which Macbeth is presented as mad without a care for the crimes he has committed.
Even when he has been stabbed he does not surrender or bow down but crawls up the stairs on which he came. This is a Heroic attribute, as he shows determination and unwillingness to surrender.
Throughout the scene Macbeth shows courage, and even when comes to realise Macduff is not of women born continues to fight with honor and zeal. He also is illustrated as a man who knows his fate, and has come to accept it, this is typical of a tragic hero.
For these reasons it is clear that Polanski has portrayed Macbeth as a hero in his last scene, not that of a villain. Although at times Macbeth seems to show signs of a villain they are quickly snuffed out by heroic actions or themes.

Hero to Villain Spectrum
Hero—|———————————-Villain
Macbeth

NUNN
This version of Macbeths Murder is extremely black and yet not dull. Macbeth from the very start seems to be evil or insane as if being controlled. You do not see the death of Macbeth but it is suggested with Macduff coming back into vision with blood smeared on his hands. This setting is unique with it having no background or furniture to show where it is being performed, just black floors and walls. This gives a sense of malevolence with Macbeth. I would say that because of the theme of insanity and hunger for power with no remorse in this scene Macbeth is betrayed as a more of a terrorist then tragic hero.

WRIGHTS
In this modern interpretation of Shakespeare’s play Macbeth, Geoffrey Wright shows Macbeth as a gangsta in Melbourne. The major scene of his assassination is placed in a small cellar in his basement in the night time. All 4 men are wearing black leather clothing and none are using protection but all have machine guns and are letting of round after round at Macbeth. Macbeth speaks with an eerie sense of calm until he first talks to Macduff then it changes to more of a shout. He thinks that he can not be killed because of the prophecy but he does not find out till just before his is stabbed that “Macduff was from his mothers whom untimely ripped”. The camera is never still or set on one person, it jumps from Macbeth’s perspective and back to ¾ shot. The first thing that Macbeth does after being stabbed by Macduff, is to try and die next to Lady Macbeth. This is because he just wants the thrill and the power at the start of the scene, which makes him closer to a terrorist because he his willing to kill anyone to get what he thinks he deserves. But at the end he comes back towards a tragic hero because of how his final actions demonstrate that he has done all this because of his love for lady Macbeth. So I would have to say he is in the middle of the spectrum of Tragic Hero to Terrorist.

Trevor Nunn:
There is spooky sounding music playing in the background at the start of the scene and it is very dark and gloomy, this is traditionally somewhere a villain would be found. The camera stays on the same level throughout, showing equality between Macbeth and Macduff. When Macduff is first seen he looks almost villainous and sounds kind of evil. Macbeth seems a bit crazy and very paranoid. When Macbeth learns that Macduff was born of a caesarean section he understands that the witches have been lying to him and realizes what he has done. He seems genuinely sorry for what he has done. He tells Macduff that he won’t fight him. At this stage Macbeth starts looking like a tragic hero. Macduff then insults Macbeth’s and Macbeth, wanting to defend his honour, fights Macduff again. Macbeth’s actual death is not shown. At the end the responder feels sorry for Macbeth and views him as a tragic hero because in this version he seems to take full responsibility for what he has done and knows that he was wrong. When Macduff returns to Malcom he looks shocked and in disbelief. Everyone seems a bit sad that Macbeth is dead even though they have no reason to be. This makes Macbeth the tragic hero because although he has done all those horrible things, Malcom and Mucduff and the others must be sad because he started out a great man but had a fatal flaw and everything went down hill from there. The end shows a still of the crown and bloody daggers, this could be a symbol of Macbeths reign. Some men die as heroes, others live long enough to see themselves become villains.

Geoffrey Wright:
At the start it shows Macduff descending a stair case to get to Macbeth, which is very different to Polanski’s version where Macbeth is the one descending to Macduff’s level. From this point Mucduff seems to be the one in a place of power. Hiding in a cellar does not seem like a very heroic thing to be doing, Macbeth is already looking like a cowardly villain. It is very dark in the cellar; darkness is another cliché that is connected to villains. The fighting is a lot more violent in this version, neither Macbeth nor Macduff seem to be portrayed as good people, they both seem as bad as each other. Macduff is on the ground when he stabs Macbeth and Macbeth is standing up, symbolizing Macbeth has a long way to fall. Macbeth staggers up to where the dead Lady Macbeth is laying and kisses her before he dies, he never really gives up. This makes him seem more villainous. He does not accept what that he has done is wrong. Instead of showing Malcom and Mucduff a bit sad that Macbeth is dead, Wright has Malcom spit on Macbeth’s dead body and smirk to himself. This portrays Malcom as not worthy to take the throne. He was also there when Macbeth was killed which is not where Malcom is traditionally placed.

The soldiers watching all wear similar costumes and blend in as one, whilst Macduff and Macbeth’s shining armour stands out against the crowd. Macbeth’s gold crown also becomes a focus because of its colour as it is a symbol of Kingship and the reason for their fighting. Macbeth fights to retain the crown whilst Macduff fights because of Macbeth’s usurpation.

Eventually when Macduff falls and lays vulnerable to Macbeth, Macbeth stands over him and is faced with the same decision he had when he killed Duncan. This time, Macbeth chooses not to kill Macduff, “My soul is too much charged with the blood of thine already.” Polanski’s choice to provide Macbeth with an opportunity to kill Macduff and then for him to refuse, once again presents Macbeth as a tragic hero as he learns from and attempts to redeem the murder of Duncan.

When Macduff reveals to Macbeth that he “was from his mother’s womb untimely ripped”, the camera focuses in on Macbeth’s face as he realises the truth in the Witches prophecy and his inevitable death by Macduff. The close-up on Macbeth’s face effectively shows his shock, defeat and then determination to go down fighting. As the fighting begins again, Macduff knocks off Macbeth’s crown. The fighting becomes more frantic and more like a struggle. Macbeth grabs for the crown showing his desperation as he claws to the only thing he has left. He sits on the stairs, which becomes almost thrown-like, as he places on his crown and tries to regain strength to go on. However, he gets up once again showing courage to never give up, despite knowing his death is inevitable. This also presents him as a tragic hero rather than villain.

Finally, when both men have fallen and struggle to get up, Macduff pierces Macbeth from behind through his chest. This unexpected strike to Macbeth form behind where he could not prepare or attempt to fight back makes Macduff appear underhanded and Macbeth appears helpless. The audience is made to feel more empathy for Macbeth than if he were killed whilst fighting and could attempt to protect himself. This once-again presents Macbeth as a tragic hero and now Macduff is seen as somewhat villainous. In Macbeth’s final attempt to retain some dignity, he drags himself up the stairs which once represented his power as King, with the crown still on his head and collapses at the top. Macduff follows and once at the top, callously beheads Macbeth. The audience is led to feel empathy towards Macbeth as they watch his struggle to the top of the stairs and see him as a tragic hero. They are then led to see Macduff as villainous as he beheads Macbeth who was helpless and already dying. The cruelty and horror of Macbeth’s beheading is added to by the rich red of his blood as it gushes out and Macbeth’s headless body falling down the stairs.

Overall, Polanski’s version of Macbeth’s death presents Macbeth as a tragic hero rather than a villain whose life was tragically cut short just as he began to realise the suffering he caused as King and attempt to redeem himself.

Nunn’s version of Macbeth’s death begins on a black stage, completely empty of props with only Macbeth and Macduff. This allows for a greater focus on them with nothing to distract the audience. The complete silence intensifies the tone in their voices and the sharp clang as the swords come into contact. When Macbeth strikes Macduff and he falls to his knee’s, Macbeth’s tone is filled with contempt as he sneers and tells Macduff of his ‘charmèd life which must not yield to one of woman born’. Macbeth’s tone towards Macduff presents him as more of a villain. His over-confidence and belief that he is invincible shows no change from the murderous tyrant he has developed into, unlike in Polanski’s version where Macbeth realises the depth of his actions and suffering it caused. He shows no heroic characteristics, only a continuation of his villainous actions.

Macduff then rises from his knees where he seemed weaker and vulnerable and reveals to Macbeth that he is “from his mother’s womb untimely ripped”. He stands, symbolic of his regain of power. The camera then goes to a close-up of Macbeth’s face, showing his shock and fear. All is silent for a moment as Macbeth realises his fate and his breathing increases and his voice trembles. The audience is shown Macbeth as vulnerable as he turns to face the camera and at this point, Macbeth is presented as more of a tragic hero rather than villain.

Macbeth then composes himself and as both men prepare to fight, a close-up of Macbeth’s face shows him sweating, highlighting his fear. However, Macbeth refuses to back down and organs begin to play and the fighting continues. This display of courage presents Macbeth as more of a tragic hero.

Finally, a struggle follows and Macbeth takes the dagger and a close-up on his face showing a slightly ‘evil’ smirk and walks into the darkness. This final display of Macbeth’s villainous characteristics presents Macbeth as more of a villain than tragic hero.

Overall, in Nunn’s version, Macbeth shows heroic qualities such as his courage and determination but he also shows villainous qualities and so Macbeth can not be decided as being just a villain or tragic hero, but as both.

Wright’s version of Macbeth’s death consists of a final shootout unlike Nunn and Polanski’s versions. The dark and ominous lighting of the cellar, where the shootout takes place, creates a tense atmosphere. This is added to with the short bursts of bright light and gunfire erupting through the silence. The quickly moving, red lasers and jolting movement of the camera create a sense of panic as Macbeth desperately hides from Macduff and his men. This all helps to make the scene fast paced and leaves audiences’ on edge.

Unlike in other versions were this scene occurs only between Macduff and Macbeth, Macduff has others who help him which creates a sense of Macbeth being hunted. The battle seems almost unfair with the uneven sides and the large guns Macduff and his men use in comparison to Macbeth’s small gun. Macbeth is forced to hide in the shadows and constant close-ups of his face and eyes reflect his panic and fear. However, Macbeth eventually manages to beat the odds and injure Macduff’s men so all that is left is Macduff. This triumph can be seen as heroic presenting Macbeth as a tragic hero.

Macduff and Macbeth fight and the camera follows with low-angle shots of each as they gain advantage over each other. A hanging lamp overhead swings as it is knocked and illuminates their faces and highlights their facial expressions of desperation and determination. Macbeth reveals that he cannot be killed by anyone born of woman as he stands over Macduff in a position of power. As Macduff drags himself to a knife on the floor, he reveals his Caesarean birth and as Macbeth stops in shock, Macduff stabs him with the knife. The close-up on Macbeth’s face shows his pain and shock and the discordant music suggests his disorientation as he begins to realise and take in the situation. Almost trance-like, he walks to where Lady Macbeth lay on the bed, kisses her and falls next to her. Macbeth’s quick fall from the power he once held and confidence that he could not be killed to his defeat can be seen as somewhat tragic to audiences as he realises his fate and dies next to his wife. For this reason, and his other heroic qualities shown, Macbeth is seen as closer to a tragic hero than villain in Wright’s version of Macbeth’s death.

NUNN

The main focus of Nunn’s take on Macbeth’s death appears to be that Macbeth has been destined to die long before this scene occurs. Nunn does not shock the viewer with an action packed, unexpected murder scene, rather he explores Macbeth’s approach to his inevitable downfall and shapes the audience’s view of Macbeth by contrasting his actions and motives with those of Macduff.

The sequence includes many close-ups and midshots of both Macbeth and Macduff. These shots allow the audience to clearly understand the feelings of both characters. Macbeth is captured solo at the beginning of the scene and appears to be weak and mentally unstable. He speaks of his power to not be killed by one who is “born of woman” (5, 7, 3) but seems rather bemused by the idea rather than confident and “cocky” as he appears in the Polanski and Wright versions of the film. As the scene unfolds and Macbeth learns of Macduff’s true birth, he becomes worked-up, shaky and struggles to convince himself to fight. This provides great contrast to the way the character of Macduff is portrayed. Throughout the entire sequence Macduff remains steady, regal and calm; his attitude never wavers. As the scene progresses, high and low angle shots are introduced to show whether Macbeth or Macduff holds the position of power. Macduff’s control over the situation is captured by low angle close-ups of his calm face followed by changes to his line of sight which capture Macbeth’s shocked form from a high angle.

The motives behind Macbeth’s and Macduff’s actions in this film play a large role in how the audience views the characters. Macbeth struggles with his emotions constantly throughout the changing events of this scene. He starts off overwhelmed with the idea of having power over death, becomes shocked, troubled and desperate at the revelation that “Macduff was from his mother’s womb untimely ripped” (5, 8, 15-16), and finally finds the confidence to fight his hardest until the end. He wants to die with the dignity of being king. Macduff is motivated to fight by the fact that he has nothing left to lose. He wants to avenge his family and will not rest until Macbeth is dead. He is aware of Macbeth’s pride and ambition and uses this to challenge him to a fight to the death. It is known by both characters that this is a fight Macduff is destined to win.

At certain points in this scene it is made clear that Macbeth is essentially a good person who has lost his way and been weakened by his evil ambition for ultimate power. Macbeth’s noble side is displayed when he does not wish to fight Macduff and have any more of his family’s blood on his hands. Also, after Macbeth realises his wrong doings and fate, he seems to part with his deadly desire for power and rushes almost eagerly to his death at the hands of Macduff.

The use of language in Nunn’s Macbeth helps the audience to gain the director’s perspective of Macbeth’s own understanding of his death. Macbeth’s tone of voice is weak and questioning throughout the majority of this scene, he seems resigned to his fate even before learning that Macduff has the power to kill him. His voice strengthens when the decision is made to fight to the death; Macbeth has prepared himself to die and is willing to meet his fate. Along with this, many of the lines Nunn has included from the original play are linked by the idea that Macbeth has been made a fool by believing that he cannot be killed. This idea is also emphasised by the use of props, which are kept to a minimum. The exchange of Macbeth’s crown and sword after his death is representational of the fact that his unfair reign has truly ended. The hand-over symbolises that Macbeth has been made a fool by Macduff’s birth and, because of his ambition for power, sealed his own fate of playing the “Roman fool” (5, 8, 10) and falling on his own sword; the sword of the king.

The highly theatrical setting of Nunn’s Macbeth highlights the idea that Macbeth is being consumed by darkness. The empty stage with nothing but blackness surrounding the characters not only reminds the audience that Shakespeare intended Macbeth as a play, but also that letting evil take over has been Macbeth’s ultimate downfall. As well as this, the encroaching darkness creates a confined space, ensuring that Macbeth must meet his fate. He has no possible escape.

The structure, costumes and music of this scene also contribute to the audience’s overall judgement. As a whole, this scene is very drawn out compared to the Polanski and Wright versions. Nunn clearly wants the audience to understand what Macbeth is feeling before he enters the fight. Macbeth’s actual death occurs very quickly, with the small amount of action shown conveying that Macbeth and Macduff are evenly matched in skill. After Macbeth proclaims that this is a fight to the death, no more of the battle is shown. The eclectic costuming conveys the idea that the morals brought into question in Macbeth are timeless. The thin layer of armour worn by Macbeth and Macduff offers no real protection and the fact that Macbeth does not carry a shield highlights the fact that he knows there is no hope of surviving. Along with this, the fact that Macduff wears the attire of a business man under his armour signifies that he sees killing Macbeth as a job that must be done.

The church-like elements of the music including an organ and bells conveys the theme of a higher power having ultimate control over Macbeth’s fate. The disharmony of the music not only makes it hard to listen to, but represents that Macbeth’s rule has altered the natural order of the nation. There is utter silence as Macduff reveals his Caesarean birth then the harsh music returns as the two men fight. The music resolves at Macbeth’s death, signifying that the nation can now heal.

Nunn’s film makes Macbeth appear to be a noble yet power hungry man who has let his evil desires consume him. Macbeth is not conveyed as a true villain as once he is able to comprehend the evil of what he has done he tries to regain his dignity by boldly resigning himself to his fate.

POLANSKI

The main idea conveyed through Polanski’s version of Macbeth’s death is that Macbeth is a noble yet desperate man with nothing left to live for except his reign as king. Though many factors contribute to this focus, the use of setting, camera work, action and characterisation are the most prominent.

The scene is set in the mid-afternoon heat in the courtyard of Macbeth’s castle. The courtyard lies at the bottom of two large stone staircases which descend from the majestic castle wall and, as a reflection of the weather, is about to be the location of a heated battle. As with the Nunn and Wright versions of this scene, the setting leaves no room for escape. Unlike the other versions of this scene, Macbeth confidently makes his entrance at the top of the highest staircase. It is instantly conveyed that he holds the power over all the other characters in this scene, with his high position emphasised even further by the use of a low angle shot. As Macbeth makes his entrance he talks down to Macduff and, on his realisation that they must fight, displays his heroic characteristic of fairness by stepping down to meet him and “level the play”. The sense of equality created between Macbeth and Macduff through this action is maintained throughout the majority of the scene.

Once on level ground Macbeth, who believes himself to be virtually invincible at this point in time, overpowers Macduff yet does not go in for the kill as he does not see Macduff as a threat and does not want any more deaths of the Macduff family to his name. The camera, which is centrally located throughout the entirety of the scene, once again captures Macbeth from a low angle above Macduff. This positioning allows the audience to be involved in the whole sequence and the fact that the base of the camera never moves maintains the sense of equality between Macbeth and Macduff. As the scene unfolds and Macbeth learns the truth of Macduff’s ability to kill him, the shots change only slightly, sometimes capturing Macduff from a low angle but mainly showing the two on level ground. The sense of equality created by the setting and camera work reflects the similarities between Macbeth and Macduff. Throughout the film both suffer the loss of family and neither take the easy kill. Macbeth’s previous decision to let Macduff live is matched by Macduff’s decision to knock back spears and swords from his fellow soldiers which would have given him an easy advantage in the fight.

Throughout the battle, Macbeth’s desire to remain king until the very end is conveyed by his desire to clutch his crown and remain in power despite his utter exhaustion. He fights with every bit of strength he has left and, though he knows death is inevitable, remains on equal footing with Macduff until he is unfairly stabbed in the back. This injustice coincides with a crescendo of disharmonic music, which replaces the sounds of battle that have featured in the rest of the sequence. In order to die with dignity and in what he views to be his rightful position of power, Macbeth staggers back up to the top of the stairs, keeping the crown on his head even after his execution. Along with this, the amount of blood shed on the light coloured staircase as result of his beheading symbolises the significance of Macbeth’s downfall.

Although it is highly choreographed, the fight in Polanski’s version of Macbeth’s death scene is very clumsy, awkward and almost comic. This may have been done for a number of reasons. It may be a realistic representation of the difficulty of fighting in armour yet can also represent that Macbeth and Macduff have been weighed down by their decision to fight and that neither will be free until the battle is finished. Along with this, the clumsiness of the fight may be deliberately comic, showcasing that this fight is pointless and merely entertainment for the onlookers as Macbeth’s fate has been sealed long before he steps down to fight Macduff.

Unlike the Nunn and Wright versions of this scene, Polanski uses bright costumes to separate the onlookers into two distinct parties and to convey the excitement of the battle. Along with this, Macbeth’s armour is pure silver compared to Macduff’s which is covered in cloth. This represents Macbeth’s heroic characteristics by creating links to the idea that he is a “knight in shining armour”.

Polanski’s take on Macbeth’s death definitely conveys the idea that Macbeth is a tragic hero who becomes entangled in evil circumstances. Though Macbeth does commit villainous acts which are not excused by the director, his heroic characteristics are far more prominent.

WRIGHT

In Wright’s version of Macbeth, the death scene carries the purpose of resolving the troubles caused by Macbeth’s unrightful reign as king. Macbeth is depicted as a desperate, out-of-control villain who is about to meet his fate. This idea is mostly conveyed through the use of setting, action, language and camera work.

As in Polanski’s Macbeth, the sequence begins with Macbeth making his entrance down a flight of stairs, however, no idea of equality is conveyed. The scene is set in the middle of the night which combines with the use of utter silence to create the feeling that Macbeth is hunting Macduff who is already trapped in the dimly lit basement. This basement setting conveys many things on a number of levels. For one, the shelves and the shadows which they cast create a confined space as in the Nunn and Polanski versions of the film, signifying that Macbeth is unable to escape from his fate. As well as this, Wright uses this setting to bring Macbeth into the present day so that the audience can relate more easily to the themes of the traditional play. In today’s society, basements carry all sorts of negative connotations. They are almost always the setting of children’s horror stories and therefore evoke a sense of suspense that all audiences can relate to. Along with this, the basement doubles as a cellar, creating a link to the traditional setting of Macbeth’s castle in which a large stock of wine is needed for their frequent feasts. The use of barrels of red wine also adds a new dynamic to this fight sequence, as the spilt contents highlights the amount of blood that has been shed as a result of Macbeth’s desire to rule.

In order to set this scene in the present day, Wright has replaced the traditional weapons such as axes and swords with guns. This makes Macbeth appear much more villainous than in Nunn’s and Polanski’s versions, as the weapon is not seen as part of his armour for self defence, but rather as a tool intended for murder. Wright once again helps the audience relate to the scene by using fast paced action along with constant hiding and hunting in between the nooks and crannies of the basement to create the feel of a typical modern day action film. The use of red laser beams in the highly choreographed fight sequence creates the idea of a laser hunt, making Macbeth’s death appear to be almost part of a cruel game.

Macbeth’s arrogant tone of voice and constant yelling again contribute to his appearance as a villain. He does not appear to have control over his emotions as he tries to comprehend his belief that no man can kill him. Along with this, the lines Wright has chosen to use from the traditional play focus on the idea of Macbeth being trapped: “They have tied me to a stake; I cannot fly” (5, 7, 1). Macbeth is fuelled by his rage and ambition throughout this scene. This is conveyed through the fact that he is willing to strangle Macduff with his bare hands and also that when he learns of Macduff’s power to kill him he is far more willing to continue fighting than in the Nunn and Polanski versions. Macbeth’s portrayal as a villain is further emphasised by the fact that, unlike in the Nunn and Polanski films, he has no time to understand his wrong doing before being stabbed.

Wright allows the audience to relate to Macbeth’s shock at being stabbed through the use of unstable camera movement. As Macbeth’s strength wavers and he desperately scrambles to join his wife in death, the camera tilts between diagonal angles, signifying that this is truly the end of Macbeth’s reign and that he is prepared to give into the weakness. The fact that Macbeth dies on his bed next to Lady Macbeth’s corpse introduces the themes of Romeo and Juliet and the idea that both were destined to die and escape the evil created by their ambition is strongly conveyed. Along with this, Macbeth’s final kiss to his wife contradicts the previously conveyed idea that his relationship with her meant nothing – maybe Macbeth is not solely to blame.

The bedroom setting of Macbeth’s death links to the lexical chain of sleep which is highly prominent in the original play. Ever since he made the disastrous moral choice to kill Duncan, Macbeth has been robbed of sleep. Now that fate has taken its course, he can finally be at peace. Along with this, the painting on the bedroom wall looks very much like spattered blood conveying the idea that Macbeth’s blood had to be spilled before he ever found rest again. The minor key melody that begins after Macbeth’s death contrasts with the previous disharmonic screeching. This symbolises that in his death, Macbeth has left his villainous acts behind.

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