![]() ![]() If the production had a flaw, it was the slightly pallid nature of the supporting roles. The "hubble, bubble" scene was delivered as a mutated rap, with an electronic soundtrack and jerky, processed video. However, rather than acting as angels of mercy, they briskly euthanised the wounded man and then ripped out his heart for their ghastly black-magic rituals. ![]() The scene was set with a maimed and bloody soldier being wheeled past on a gurney, just able to gasp out news from the battlefield, and the witches materialised as nurses in a hospital for combat casualties. Apart from some battle scenes and crumbly newsreel footage of Soviet armies marching through Red Square, the action was mostly located in a network of claustrophobic white-tiled bunkers and tunnels, which could have been an abattoir or a Victorian lunatic asylum. There were some echoes of Ian McKellen's film of Richard III, set in a Fascist 1930s England, but Macbeth's supernatural overtones make it particularly well suited to drawing out interiorised themes of damnation and delusion. Nonetheless, even as torrents of spurting blood began to surge through the action like the Severn bore, Stewart never quite let us lose sight of the brave and honourable qualities that once seemed to mark out Macbeth as a true leader, rather than a natural born killer. We saw Macbeth steadily torn apart by a maelstrom of ambition, conscience and destiny, the latter revealed in regular bulletins from the flesh-crawlingly sinister Three Witches. ![]()
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