"Macbeth is a play about the nature of evil rather than the nature of ambition". To what extent do you agree with this view of the play?

Shakespeare's Macbeth is a play that initially appears to be about the nature of evil. There are many monstrous and wicked acts committed in this play, such as Duncan's Murder, Lady Macbeth's rejection of her humanity and the slaughter of the Macduff household. It could be argued that Shakespeare explores the nature of these evil acts, and how they affect the characters involved. However, it could also be argued that this play is about the nature of ambition that underlies this evil. With characters such as Macbeth and Lady Macbeth, it is often the nature of their aspirations and their desire to transgress beyond limitations that this play examines. Often, their evil behaviour is just a method of appeasing their ambition, rather than a theme the play explores in depth. 
   Through the aftermath of Duncan's murder, Shakespeare could be exploring the horrifying nature of evil. This pivotal moment within the play is presented as a disastrous catastrophe that should never have occurred. It is an event which leaves all the characters in a state of "o horror, horror", and even the setting of the weather appears to be "troubled with man's act". In the night following the murder, the setting is described as "dreadful and strange", which appears to reflect how appalling and abhorrent this act of regicide is. Contextually, this use of setting may reflect a Jacobean audience's response to Duncan's death. It could have been considered to be so evil in nature, and such a challenge to the natural order, that many audiences are left feeling nothing but contempt for Macbeth's crime. Thus, it could be argued that Shakespeare is exploring the horrifying and appalling nature of evil through this pivotal moment in the text. 
   However, a much greater reading suggests that this pivotal scene is actually about the corruptive nature of ambition. At the opening of the play, Macbeth is a "brave", loyal and patriotic soldier who would do anything to protect his king- he was a "sparrow eagle" who fought for his country's safety. Once the Witches tell Macbeth about his future as king, this presentation becomes subverted. Macbeth later decays into a man consumed by his "black and deep desires". His ambition to "o'erleap" Malcolm to the throne takes priority over his morality as he murders the king to satisfy his grand aspirations. Shakespeare, through Macbeth's changing characterisation, appears to be exploring the corruptive nature of ambition, rather than the nature of evil. It is this ambition that the play appears to be about, as it changes Macbeth from a "worthy gentleman" into a "devilish" murderer. 
   Nevertheless, the nature of evil appears to take a greater focus within the play through the presentation of Lady Macbeth. She is portrayed as unscrupulous and wicked when she is first introduced; her nature is filled with "gall". This is a character who shockingly defies all expectations. Rather than protect her children, she reveals that she would "dashed the brains out" of them. This cold statement may startle many audiences because the evil nature of what she is willing to do challenges all expectations for how a mother should behave. It becomes clear that this extreme and shocking character is filled with the "direst cruelty", as well as being completely callous and evil. No humanity appears to remain within her. Thus, it could be argued that Shakespeare is exploring the shocking nature of evil, and how it often challenges societal rules and expectations. However, a much stronger interpretation suggests that her presentation is not about the nature of evil; rather, it appears to explore the ruthless nature of ambition to a much greater extent. Lady Macbeth actually appears to be presented as someone who is willing to do anything to reach her goals and ambitions. Lady Macbeth is portrayed as willing to lose her femininity- "unsex me here"- and even her own humanity as she rids herself of the "compunctious visiting of nature". She seems to view her gender and humanity as set-backs that she is willing to work through in order to achieve her goal of becoming queen. Thus, it appears that Shakespeare has actually written a play about the ruthless nature of ambition, and how someone can be so determined to fulfil their aspirations that they would even "dashed the brains out" of their own child. 
   The scene in which the Macduff family are "savagely slaughtered" appears to be the scene which is most about the nature of ambition. Shakespeare presents Macbeth at his most ambitious as he seeks to defy fate itself. After being told that no man born of woman shall harm him, he boldly exclaims that he has no "need to fear thee [Macduff]". He chooses to ignore the first prophecy telling him to beware Macduff, and it could be argued that this defiance against fate is what leads to the death of the Macduff family. He interprets this "sweet bodement" as an indication that he is capable of cheating death and his fate. Whilst the deaths of the most "diminutive", "poor" and vulnerable victims could be interpreted as a demonstration of the depraved nature of evil, it is clear that the scene explores the recklessness of ambition. Macbeth's aspirations to secure his kingship and safety lead to him acting impulsively- "the firstlings of my heart are the firstlings of my hand". The deaths of the Lady Macduff and her children appears to be a consequence of this instinctive and reckless nature of ambition, rather than Macbeth's evil nature.
   Whilst it could be argued that Shakespeare is exploring the depraved and shocking nature of evil through the murders that take place in the play, it appears that the play has a greater focus on the nature of ambition. Underlying these evil acts of murder is a corruptive, reckless and ruthless ambition. It is this ambition that the play appears to be about, rather than the nature of evil.  
 
    
   

Macbeth (2015) Review

Kurzel’s adaptation of Macbeth is a skilful film that utilises many techniques to answer the key questions raised within the source material. Who is at fault for Macbeth’s violent crimes? How much sympathy can we as an audience truly feel for this flawed protagonist? The answers to these questions appear to be the impetus of this well-made adaptation. Film techniques such as the use of colour saturation, slow-motion and the restructuring of the plot all serve to alter our ability to show compassion for the protagonist as he begins to “stepped so far” into a world of death and brutality.

The use of slow-motion during the opening proves very effective at developing the gothic themes of the source material. From the eager shaking of Macbeth’s sword as he waits for the battle to begin, through to its climactic conclusion, Kurzel chooses to reduce the film’s pace significantly. As a result, every single detail of this bloody battle can be savoured by the audience. Every brutal attack that Macbeth and Banquo execute upon their enemies can almost be felt, as the scenes play out slow enough for us to become more involved with every stab, kick and slice. Kurzel appears to be using this slow-motion technique to glorify and stylise the violence, which may reflect the characterisation of Duncan and his lords within the play itself. Both Macbeth and Banquo are praised as “worthy gentleman!” for their savage fighting style; they are “honoured” and “valiant”. Duncan’s speech is filled with a chain of positive adjectives to emphasise how respected Macbeth is for his actions- “brave Macbeth, well he deserves that name”. This attitude to the protagonist’s heroic efforts is reflected by the use of slow-motion, which presents their patriotic desire to protect their country as impressive, magnificent and extravagant. However, a more effective use of this slow-motion is how it infers the powerful influence of the Witches in this play. In a short segment of the battle sequence, the pace returns to real-time for the soldiers who continue to participate in the combat. This is juxtaposed with the shots featuring the eponymous protagonist and the Witches, who remain in slow-motion. For the audience, this effectively emphasises the influence they have upon Macbeth. Only he can see them, and his focus is on these arcane figures rather than the bloody battle as it continues around him. Kurzel’s use of slow-motion thus serves to isolate Macbeth as a protagonist who is no longer of the temporal world. From this moment on, Macbeth appears to be under the supernatural influence of the Witches.

However, Kurzel appears to spend the rest of the film disputing the assertion that Macbeth is under the influence of overwhelming supernatural forces. In the play, the Witches are otherworldly beings with the sole goal of “draw him [Macbeth] onto his confusion”. The plot is slightly altered in this adaption so that Lady Macbeth sees these mysterious characters. Whilst it may appear to be a small adjustment, this heavily influences the audience’s response to the question at the heart of this play: ‘who is to blame for Macbeth’s actions?’ In the play, it is ambiguous and unclear. This adaptation makes the mistake of eliminating the uncertainty that makes the play the timeless classic that it is. For Lady Macbeth to meet the Witches, Kurzel inadvertently diminishes the integrity of their mysterious representation as paranormal beings. In fact, there is very little makeup or effects (if any) used on these characters, which serves to present them as more human than “juggling fiend”. Rather than “vanish” completely after their meeting with Macbeth, they simply walk off into the fog. Kurzel appears to be creating a very realistic and grounded version of this classic gothic play. Furthermore, the famous dagger scene is adapted so that it is a young boy in a dream who offers the weapon to Macbeth. In the play, the origins of this dagger are much more obscure. We never truly know whether it is Macbeth’s “heat-oppressed” mind that hallucinates this image, or the Witches tempting him down a road of violence and death. Kurzel’s adaption does not preserve this mystery: the Witches are much less supernatural and arcane in this film, as the ambiguity which made them so interesting in the play is stripped away. This also makes it very difficult to blame Macbeth’s transgressive murders throughout the play on the overpowering influence on the Witches. Whilst the use of slow-motion earlier did appear to suggest that Macbeth was completely enchanted by their power, it is clear that the true fault for Macbeth’s actions lies with the protagonist himself.

In fact, Kurzel and Fassbender’s presentation of Macbeth appears to deliberately restrict our sympathies for the protagonist. During the film, the domination and command of Lady Macbeth is almost entirely omitted. Cotillard’s performance is very subtle as her character seduces Macbeth into committing regicide, rather than completely overpowering him. When Macbeth cowardly asks “if we should fail,-” in the film, it appears to stem from a fear of disappointing his wife for not being masculine enough. In the play, it is Lady Macbeth who uses his manhood and his pride as weapons in order to convince Macbeth. The film does not utilise this key concept within the play, for the delivery of Cotillard’s lines are too quiet for us to interpret her as the commanding partner of this relationship. In fact, much of the dialogue in the play has been cut from the film’s screenplay. Following Duncan’s murder, the use of imperatives and insults in her language- such as “infirm of purpose”; “white” hearted and “go get”- is absent from Kurzel’s adaptation. Similarly to the Witches’ presentation, her influence has been stripped to its core so that there is very little of it. This serves to increase the blame of Macbeth’s actions upon the titular protagonist himself.

Furthermore, Kurzel presents Macbeth as worthy of the titles “butcher” and “devilish Macbeth” during the act of regicide itself. In Shakespeare’s source narrative, the murder is completely omitted. It takes place off-stage, which may initially infer that Macbeth feels so much guilt for his crime that he cannot process it. He runs and hides immediately, refusing to go back to the “sorry sight”. However, a much greater interpretation would suggest that this crime is actually more abhorrent for the audience, hence why it is absent from the narrative. There is a suggestion that the crime is too horrific to be imagined. Kurzel appears to be adapting the play so that it coincides with the latter interpretation. He chooses to include Duncan’s murder within the film, and directs it in a perfectly chilling way. In what is one of the most accomplished scenes in the film, the audience is left repulsed by the violent, barbaric and bloody murder that Macbeth commits. It is the repeated stabbings, and the uncontrollable burst of ferocity, that presents Macbeth as so cold, and so indifferent. Thus, it could be interpreted that Kurzel is deliberately restricting our sympathies for the protagonist. Whereas the play included a duality about his character, which made him both sympathetic and morally revolting, the film does not portray Macbeth as someone we should feel sorry for. Even the film’s colour saturation, so that the scene appears orange and red during the final battle sequence, serves to distance us from Macbeth. We struggle to feel sympathy for the character because the colour saturation obscures him from view; all we can see is the ‘red’ that symbolises his bloody and violent path to power.

Whilst this film is flawed in its lack of ambiguity or mystery, there are many elements of the source material that Kurzel translates to screen faultlessly. He masterly reflects the glorification of violence in the play through stylised and stunning visual storytelling, and he cleverly restructures the story to open up original interpretations on how we as an audience should respond to Macbeth’s character. It is an impressive film that proves to be a faithful adaptation of this 400 year old play, whilst also having its own fresh, innovative and modern flair.