Literary art holds the power to reflect, on a deeper level the contextual values, motifs and historical questionings of their eras. Geoffrey Wright’s gang based appropriation of Macbeth (2006) illustrates the way in which themes presented in Shakespeare’s original play are still prominent in the modernized world. Wright reinstates Shakespeare’s original theme of ambition and its destructive nature and explores Shakespeare’s take on power and one attains it. Geoffrey Wright, to an extent, successfully represents the 21st century world as he presents an action-thriller adaptation of a classic text, thus proving texts have the capacity to reveal the context in which they were written.
With ambition comes determination and resilience, but once the individual abuses their ambitious nature, they become selfish and greedy. Shakespeare, in recognizing ambition as an evil trait is challenging the consequences of interfering with the Great Chain of Being. Early on in the play, after Macbeth hears his prophecies and starts on his deadly, deceitful path, he says ‘Stars, hide your fires; let not light see my black and deep desires.’ Shakespeare’s use of metaphorical rhyme see’s Macbeth repress his unholy ambition and in turn, the audience are left questioning his credibility as they recognize his ulterior motives. After King Duncan’s murder, Ross exasperates his dismay describing he who murdered Duncan as ‘Gainst’ nature still! Thriftless ambition.’ The audience, in shock that Macbeth is seemingly unpleasable in his quest to gain supremos, are pushed to their limits when Macbeth expresses his selfish nature - saying ‘For my own good, All causes shall give way.’ Macbeth’s egocentric personality leads to his downfall as he tried to climb the social heirachy, ultimately challenging the highly regarded theory of The Great Chain of Being.
He shall not and cannot gain absolute power unless absolute power is given by the Gods. Shakespeare’s portrayal of power in Macbeth questions this abided by tradition and reflects the shifting religious paradigms which saw the individual questioning their relationship with God during the Elizabethan era. As the plot unravels, we see Macbeth act against the Gods as he separates himself morally and religiously from the norms of society. Macbeth’s first action against the Gods is the killing of King Duncan. After the discovery of King Duncan’s murdered self, Macduff cries ‘murder hath broke ope The lord’s anointed temple, and stole thence The life o’ th’ building!’ Shakespeare, in his use of biblical imagery represents Macbeth’s separation from God as he carelessly goes against the Divine Right of Kings – a theory that clearly outlines God’s role in the appointing of King. Macbeth again goes against God in his attempt to meddle with fate in the forcing and reassuring of his own future. Macbeth orders to hit men to eliminate Banquo’s family as he is fearful in his remembering ‘Prophetlike, theyhailed him father to a line of Kings.’ Macbeth is metaphorically blinded and ignorant while he ignores God and disregards their relationship as he tries to force his own future. Ironically, in the closing scene of the play, Malcolm pledges ‘What needfull else That calls upon us, by the grace of Grace, we will perform in measure, time and place.’ Shakespeare is masterfully voicing his own fears within his characters and has subliminally warned his audiences of the chaos and tyranny they face as they begin to separate themselves from God. Shakespeare, in both instances clearly reflects the religious and philosophical paradigms of his time and as a result has left audiences of all time with an insight to the world he lived in.
Geoffrey Wright, in his 2006 film adaptation of ‘Macbeth’ has excelled in conveying his beliefs that the themes presented in the original play, are still alive and thriving in the modern day world. Wright interprets the play in a literal way and makes small modifications in order to portray the core ambitious theme. Wright’s most significant changes between play and movie are in his settings. Wright moves from traditional England halfway across the world to underground Melbourne where he swaps daggers for guns and poison for drugs. In doing so, we see Macbeth sought after leader of the drug scene, Duncan in his quest to become leader of the pack. Throughout the entire movie, audiences see little to no broad daylight scenes as Wright’s excessive use of dark schemes and settings accompany his conveyance of discontent with he who is ambitious. Wright simply uses Shakespeare’s original dialogue to automatically force audiences into making connections between past and present, just through a different lens. The scene where Macbeth speaks ‘let light not see my black and deep desires,’ Wright uses a series of low camera angles and vectors that make audiences feel inferior and almost afraid of Macbeth’s plans for his future as they’ve seen time and time again the consequences of fugitives meddling with those above them as they are overcome with an ambitious nature. Finally and contrastingly, Wright avoids the topic of religion in a probable attempt to save himself from the wrath of audiences in religious debate. This is a direct reference to the contextual religious paradigm which suggests that unlike the previous Elizabethan era; where there was one God and one set of beliefs, the modernized world offers individuals with a choice in who and what they believe in.
Geoffrey Wright presents a definite message about the need for power and its destructive course, but adapts a more criminal sense than that of Shakespeare’s original. However, this message is the same as Shakespeare’s and does not suit his modern audience. Wright unfortunately fails to modify aspects of the plot and dialogue to suit his modern audience. Wright, in his best interests should have better adapted his portrayal of the three witches, especially in the scene where they recite the infamous lyric ‘double, double, toil and trouble.’ Audiences, having no relation with the concept of witches which thrived during Shakespeare’s time are confused how the characters relate to the play and because of this, grow confused and disorientated. Although Wright presents a more thrilling interpretation, audiences are bombarded with excessive amounts of action scenes and with the inability to understand the Elizabethan language, easily find themselves deranged and unaware of the events that are panning out. Looking specifically at the materialistic, crime driven base of the film, Wright is successful in capturing the modern day underground Melbourne, but lacks support and evidence to his argument. Simply modernizing the setting was apparently not enough for Wright to completely capture his audience. In comparison to Shakespeare’s portrayal of power, the original play is far more powerful in conveying its message.
Literary art of any form reflects its contextual surroundings despite the messages it is conveying. Shakespeare, in his original play Macbeth lays the foundations that allowed Geoffrey Wright to build on in his adaption Macbeth (2006). Shakespeare and Wright together explore the consequences of the ambitious man whilst questioning the relationship the individual has with God. It is this very contextual referencing that attracts audiences of all time as they’re able to indulge themselves in the past and present mysteries that aren’t always present in the everyday life.
With ambition comes determination and resilience, but once the individual abuses their ambitious nature, they become selfish and greedy. Shakespeare, in recognizing ambition as an evil trait is challenging the consequences of interfering with the Great Chain of Being. Early on in the play, after Macbeth hears his prophecies and starts on his deadly, deceitful path, he says ‘Stars, hide your fires; let not light see my black and deep desires.’ Shakespeare’s use of metaphorical rhyme see’s Macbeth repress his unholy ambition and in turn, the audience are left questioning his credibility as they recognize his ulterior motives. After King Duncan’s murder, Ross exasperates his dismay describing he who murdered Duncan as ‘Gainst’ nature still! Thriftless ambition.’ The audience, in shock that Macbeth is seemingly unpleasable in his quest to gain supremos, are pushed to their limits when Macbeth expresses his selfish nature - saying ‘For my own good, All causes shall give way.’ Macbeth’s egocentric personality leads to his downfall as he tried to climb the social heirachy, ultimately challenging the highly regarded theory of The Great Chain of Being.
He shall not and cannot gain absolute power unless absolute power is given by the Gods. Shakespeare’s portrayal of power in Macbeth questions this abided by tradition and reflects the shifting religious paradigms which saw the individual questioning their relationship with God during the Elizabethan era. As the plot unravels, we see Macbeth act against the Gods as he separates himself morally and religiously from the norms of society. Macbeth’s first action against the Gods is the killing of King Duncan. After the discovery of King Duncan’s murdered self, Macduff cries ‘murder hath broke ope The lord’s anointed temple, and stole thence The life o’ th’ building!’ Shakespeare, in his use of biblical imagery represents Macbeth’s separation from God as he carelessly goes against the Divine Right of Kings – a theory that clearly outlines God’s role in the appointing of King. Macbeth again goes against God in his attempt to meddle with fate in the forcing and reassuring of his own future. Macbeth orders to hit men to eliminate Banquo’s family as he is fearful in his remembering ‘Prophetlike, theyhailed him father to a line of Kings.’ Macbeth is metaphorically blinded and ignorant while he ignores God and disregards their relationship as he tries to force his own future. Ironically, in the closing scene of the play, Malcolm pledges ‘What needfull else That calls upon us, by the grace of Grace, we will perform in measure, time and place.’ Shakespeare is masterfully voicing his own fears within his characters and has subliminally warned his audiences of the chaos and tyranny they face as they begin to separate themselves from God. Shakespeare, in both instances clearly reflects the religious and philosophical paradigms of his time and as a result has left audiences of all time with an insight to the world he lived in.
Geoffrey Wright, in his 2006 film adaptation of ‘Macbeth’ has excelled in conveying his beliefs that the themes presented in the original play, are still alive and thriving in the modern day world. Wright interprets the play in a literal way and makes small modifications in order to portray the core ambitious theme. Wright’s most significant changes between play and movie are in his settings. Wright moves from traditional England halfway across the world to underground Melbourne where he swaps daggers for guns and poison for drugs. In doing so, we see Macbeth sought after leader of the drug scene, Duncan in his quest to become leader of the pack. Throughout the entire movie, audiences see little to no broad daylight scenes as Wright’s excessive use of dark schemes and settings accompany his conveyance of discontent with he who is ambitious. Wright simply uses Shakespeare’s original dialogue to automatically force audiences into making connections between past and present, just through a different lens. The scene where Macbeth speaks ‘let light not see my black and deep desires,’ Wright uses a series of low camera angles and vectors that make audiences feel inferior and almost afraid of Macbeth’s plans for his future as they’ve seen time and time again the consequences of fugitives meddling with those above them as they are overcome with an ambitious nature. Finally and contrastingly, Wright avoids the topic of religion in a probable attempt to save himself from the wrath of audiences in religious debate. This is a direct reference to the contextual religious paradigm which suggests that unlike the previous Elizabethan era; where there was one God and one set of beliefs, the modernized world offers individuals with a choice in who and what they believe in.
Geoffrey Wright presents a definite message about the need for power and its destructive course, but adapts a more criminal sense than that of Shakespeare’s original. However, this message is the same as Shakespeare’s and does not suit his modern audience. Wright unfortunately fails to modify aspects of the plot and dialogue to suit his modern audience. Wright, in his best interests should have better adapted his portrayal of the three witches, especially in the scene where they recite the infamous lyric ‘double, double, toil and trouble.’ Audiences, having no relation with the concept of witches which thrived during Shakespeare’s time are confused how the characters relate to the play and because of this, grow confused and disorientated. Although Wright presents a more thrilling interpretation, audiences are bombarded with excessive amounts of action scenes and with the inability to understand the Elizabethan language, easily find themselves deranged and unaware of the events that are panning out. Looking specifically at the materialistic, crime driven base of the film, Wright is successful in capturing the modern day underground Melbourne, but lacks support and evidence to his argument. Simply modernizing the setting was apparently not enough for Wright to completely capture his audience. In comparison to Shakespeare’s portrayal of power, the original play is far more powerful in conveying its message.
Literary art of any form reflects its contextual surroundings despite the messages it is conveying. Shakespeare, in his original play Macbeth lays the foundations that allowed Geoffrey Wright to build on in his adaption Macbeth (2006). Shakespeare and Wright together explore the consequences of the ambitious man whilst questioning the relationship the individual has with God. It is this very contextual referencing that attracts audiences of all time as they’re able to indulge themselves in the past and present mysteries that aren’t always present in the everyday life.