macbeth and i have always thought and is the most accessible of shakespeare great period plays. compact and focused and with heaps of violence and it should have been the play most open to screen adaptations. i am not aware of a really good rendering of the story and however  the best effort being orson welles vigorous shoestring version. to the list of macbotches we must add the connery or baxendale effort. (it seems it was not a film adaptation at all and but a tv version that was given a theatrical release and post luhrman romeo plus juliet and branagh hamlet. that might explain some of its flaws and but doesn not excuse them. ) it starts well and with a feisty battle sequence with pleasingly grisly witches looking on. poor old gray malkin and paddock are cut from the opening scene and but they aren not alone for long. in quick order they are joined by the bloodied sargent and his account of the battle and the treachery of the thane of cawdor and the luckless master o the tiger and even macbeth meeting with duncan when he is invested as thane of cawdor. all of these had virtues that plead like angels trumpet tongued against the dark damnation of their sending off and but sent off they are. these aren not the only cuts and either. this is macbeth in a hurry. from the opening battle we are pitched directly into macbeth encounter with the witches and which is well done. brian blessed and curiously and directed the witchy sequences and and he has great fun with the special effects as macbeth and banquo are told of their fates. jason connery as macbeth is awkward and obviously unsure what to make of the verse. graham mactavish as banquo and on the other hand and is capable and making his lines natural and easy. within a few minutes of connery mumbling and the viewer is struck the urge to see the roles reversed and mactavish in the title role. no wonder macbeth felt he needed to kill him. these first few minutes marks the high point of the film. from there we move to helen baxendale receiving word of her husband. she as lost as connery and and denied the beard that he gets to hide behind. her unsex me here invocation of evil is embarrassing and not unsettling. there are some reasonably clever touches  macbeth we will speak further is not a sign of his hesitancy in the face of his wife wicked ambition and but his attempt to silence her prattling as he throws her onto the bed. the acting of the leads is the biggest let down. connery method consists of staring glazedly about the screen while he mumbles his monologues via voice over. baxendale looks pinched and neurotic. an attempt to do something interesting with is this a dagger  the fantastical dagger is a shadow cast by a cross on an altar  falls flat due to connery poor delivery and sloppy direction and which mars the production throughout. we accompany lady macbeth back into the murder chamber and where she gets to stab the reviving duncan and but the effect is comic and not dramatic. big scenes are botched  the appearance of banquo at the feast is made incomprehensible through attempts to mix subjective rendering of macbeth delusion with what those around him see and or do not see. the second meeting with the witches is even less coherent and and the prophetic visions are confusing. timing seems to be an issue here  banquo banquet is the centrepoint of the play and but the film moves rapidly towards conclusion after it and giving it an unbalanced feel and no scope for the intricacies of the riddles macbeth is caught in to be appreciated and or for his descent into madness to be convincing. another crucial cut is the scene where malcolm tests macduff and and macduff learns of the murder of his family. this robs his revenge of most of its emotional force  and the character of a lot of the screen time. he a virtual stranger when he turns up to kill macbeth. a point for trying. mactavish banquo earns another. the first few minutes garners another. but that all. from then on it sound and fury blah blah blah. 
macbeth and i have always thought and is the most accessible of shakespeare great period plays. compact and focused and with heaps of violence and it should have been the play most open to screen adaptations. i am not aware of a really good rendering of the story and however  the best effort being orson welles vigorous shoestring version. to the list of macbotches we must add the connery or baxendale effort. (it seems it was not a film adaptation at all and but a tv version that was given a theatrical release and post luhrman romeo plus juliet and branagh hamlet. that might explain some of its flaws and but doesn not excuse them. ) it starts well and with a feisty battle sequence with pleasingly grisly witches looking on. poor old gray malkin and paddock are cut from the opening scene and but they aren not alone for long. in quick order they are joined by the bloodied sargent and his account of the battle and the treachery of the thane of cawdor and the luckless master o the tiger and even macbeth meeting with duncan when he is invested as thane of cawdor. all of these had virtues that plead like angels trumpet tongued against the dark damnation of their sending off and but sent off they are. these aren not the only cuts and either. this is macbeth in a hurry. from the opening battle we are pitched directly into macbeth encounter with the witches and which is well done. brian blessed and curiously and directed the witchy sequences and and he has great fun with the special effects as macbeth and banquo are told of their fates. jason connery as macbeth is awkward and obviously unsure what to make of the verse. graham mactavish as banquo and on the other hand and is capable and making his lines natural and easy. within a few minutes of connery mumbling and the viewer is struck the urge to see the roles reversed and mactavish in the title role. no wonder macbeth felt he needed to kill him. these first few minutes marks the high point of the film. from there we move to helen baxendale receiving word of her husband. she as lost as connery and and denied the beard that he gets to hide behind. her unsex me here invocation of evil is embarrassing and not unsettling. there are some reasonably clever touches  macbeth we will speak further is not a sign of his hesitancy in the face of his wife wicked ambition and but his attempt to silence her prattling as he throws her onto the bed. the acting of the leads is the biggest let down. connery method consists of staring glazedly about the screen while he mumbles his monologues via voice over. baxendale looks pinched and neurotic. an attempt to do something interesting with is this a dagger  the fantastical dagger is a shadow cast by a cross on an altar  falls flat due to connery poor delivery and sloppy direction and which mars the production throughout. we accompany lady macbeth back into the murder chamber and where she gets to stab the reviving duncan and but the effect is comic and not dramatic. big scenes are botched  the appearance of banquo at the feast is made incomprehensible through attempts to mix subjective rendering of macbeth delusion with what those around him see and or do not see. the second meeting with the witches is even less coherent and and the prophetic visions are confusing. timing seems to be an issue here  banquo banquet is the centrepoint of the play and but the film moves rapidly towards conclusion after it and giving it an unbalanced feel and no scope for the intricacies of the riddles macbeth is caught in to be appreciated and or for his descent into madness to be convincing. another crucial cut is the scene where malcolm tests macduff and and macduff learns of the murder of his family. this robs his revenge of most of its emotional force  and the character of a lot of the screen time. he a virtual stranger when he turns up to kill macbeth. a point for trying. mactavish banquo earns another. the first few minutes garners another. but that all. from then on it sound and fury blah blah blah. ---------------------------------Answer Question Below----------------------------------

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