Orson Welles’ horror-tinged, loose adaptation of one of Shakespeare’s most enduring tragedies returns to Blu-ray in Macbeth: Special Edition (Kino Lorber, not rated, 119 minutes, 1:33:1 aspect ratio, $29.95).
With a story taking place in the Middle Ages, the black-and-white film finds two generals of King Duncan — Macbeth the Thane of Cawdor (Welles) and buddy Banquo (Edgar Barrier) — meeting three witches after a battle who prophesize that Macbeth will become the king of Scotland.
Macbeth, encouraged by his wife (Jeanette Nolan in her film debut), takes matters into his own hands, killing Duncan and setting a course of despair that follows the pair ultimately to their deaths.
As expected, lots of introspective narration and soliloquies give the two lead actors a chance to practice their most emotional and pained facial expressions as Macbeth and his lady’s world falls deeper into murder and madness.
The meager budgeted production with minimalist stage sets (almost high school quality) including theater-style cyclorama backdrops falls way short of visual grandeur.
However, Welles and cinematographer John L. Russell’s shot choices (including a 10-minute single take) make up for the production design by liberally mixing German expressionistic moments amid minimalist caverns, immense rock structures and stylistic doses of shadowy film noir through exaggerated shading of characters and facial features.
Welles and Nolan deliver legacy-quality performances and are supplemented by a cast that includes budding pop culture superstars Alan Napier (Alfred in the “Batman” live-action television series) as a wild-looking holy man and Roddy McDowall (Cornelius from the “Planet of the Apes”) as Malcolm, the elder son of King Duncan.
The two-disc, Blu-ray set Includes both the 1948, 119-minute Roadshow Edition (complete with both overture and exit music as well as welcomed Scottish accents) and the 1950 heavily edited 85-minute re-release without the accents or extra music.
Viewers get a 2022 high definition master by Paramount Pictures delivered from 4K scans that is toned to satisfaction with plenty of crisp detail (crisp facial features, sweat and period costuming appreciation abound).
Yet, tragically, the final product is riddled with annoying scratches and worthy of teeth-grinding for more discerning home entertainment connoisseurs.
How can a film, arguably of such historical significance in cinema, have digital technicians not take the time to deliver a meticulous cleansing and premium restoration. Alas, my lords, ye must wait another day.
Best extras: A welcomed pair of optional commentary tracks for the Roadshow Edition will inundate viewers with background and deconstructions of the movie.
First, and a new solo exclusive, film critic Tim Lucas, who sounds like he is reading from notes, touches on other cinematic versions of Macbeth; offers deep credits of cast and crew; dives into nostalgia surrounding the movie; and covers Welles’ fascination with Shakespeare and his theatrical background. Overall, Mr. Lucas delivers a well-rounded, though dry, overview of the movie production and its stars.
Next, and a legacy track from 2016, Welles biographer Joseph McBride delivers a nonstop, very informative narration, mainly ignoring the onscreen action and instead, of course, stays focused on the filmmaker’s career.
In fact, fans need not even watch the visuals and can simply listen to his commentary as he also talks about iterations of Macbeth; the origins of the film; the importance of using a Scottish accent to deliver lines; the unspoken blacklisting of Welles; his investigation by the FBI; and also, even reads other critics and historians thoughts on Welles and his version of “Macbeth.”
Viewers also get a quartet of informative featurettes, culled from the 2016 Olive Signature Blu-ray release, starting with a 12-minute overview on the director’s love of Shakespeare by Welles expert Michael Anderegg.
He covers high points such as Welles adapting and directing a theatrical Black version of Macbeth performed in Harlem; taking on a Utah theatrical production of “Macbeth” (used as rehearsals for the movie with the cast); and how he grew into the role of Falstaff with age and girth (performed multiple times over his career).
Next, look for 10 minutes from filmmaker Peter Bogdanovich on his friendship and encounters with Welles; nine minutes with UCLA Film & Television Archive’s preservation supervisor Robert Gitt on restoring the film (though not really explaining the damage still on the print); and a six-minute look at Republic Pictures and its owner Herbert J. Yates.
That much-too-short segment briefly touches on Welles’ relationship with Yates, the promotion of Yates’ actress wife Vera in Republic’s movies and the studio’s ultimate acquisition by CBS.
• Joseph Szadkowski can be reached at jszadkowski@washingtontimes.com.
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