Savoir Faire is always enamoured with modern day interpretations of the classics. Whether the adaptation is in the form of a movie, play, opera or any other form of visual art, I am always excited to see what people have come up with.
Even before Baz Luhrmann’s Romeo & Juliet producers were putting there own spin on things. From epic costume dramas to minimalistic shows, we have been served a visual feast of the Bard from Stratford’s plays.
The plays of Shakespeare are no exception. I would imagine that ever since they were first performed, producers, actors and actresses had their own ideas of how they should be portrayed. Macbeth has been one of the most performed and now ranks as one of the most recognised, which makes it an ideal candidate for new adaptation.
Here are a few examples of the modern day Macbeth’s. In my opinion they haven’t looked so good. One can not away from the violence and malevolent undertones in the play and these modern day adaptations have capitalised on this perfectly, with just the right notes of seduction.
I enjoy these adaptations - not long ago I saw a Caribbean version of Shakespeare - but I'm always glad to have seen the original period piece first.
ReplyDeleteDavid...awesome post.
ReplyDeleteOh those Macbeths...they do get around.
I can't wait to see The Tempest with Helen Miren.
Hmmm...I don't know, but I think he would have liked the wifebeaters and the leather pants, at least.
ReplyDeleteWell, for me there is only one Macbeth - the original. Everything else is an attempt of less talented people to tell brilliant story without investing all that much into it and relying only on the name of the original. I rarely enjoy adaptations of any kind to tell you the truth and much rather see something new and powerful created in the modern day Theater/cinema...
ReplyDeleteDavid, thank you for your wonderful comment left under my "Serpent Hat". The combination of cobalt blue and emerald green is one of the most gorgeous and deep. Thank you for your kind words.:-)
The great version of the play on film is generally conceded to be in Japanese, which sounds (literally) to be a cruel test of our defenseless rapture in some of its speeches - as if "[its] virtues will plead like angels, trumpet-tongu'd, agains the deep damnation of [their] taking off" - but in the event, Kurosawa's "Throne of Blood" is so radiantly designed, photographed and directed as to inscribe the text upon the eye forever. Himself, a great borrower from other languages, I can't believe the playwright would have objected, but what one loves about this movie is how it portrays the central 'deed' as infinitely unnatural.
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