Claude D'Anna's film of Verdi's Macbeth is a gloomy affair, stressing the descent into madness of the principal villains. It's acted by the singers of the Decca recording of the opera (with two substitutions of actors standing in for singers) and the lip-synching is generally unobtrusive. The musical performance is superb, conducted by Riccardo Chailly with admirable fire, and sung by some of the leading lights of the opera stages of the 1980s. Shirley Verrett virtually owned the role of Lady Macbeth at the time, and she delivers a terrific performance, the voice equal to the role's wide register leaps and it's suffused with emotion, whether urging her husband on to murder or maddened by guilt in the Sleepwalking Scene. Leo Nucci's resonant Macbeth may lack the ultimate in vocal color and steadiness (his last notes of the great aria Pietà, rispetto, amore are wobbly) but he compensates with intensity in both singing and acting.

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Hallmark Hall of Fame's second version of Shakespeare's classic play, with the same two stars and the same director as its first version, but a different supporting cast.

Another take on the 1960 version, with a different production team and some of the same cast.

Macbeth (Maurice Evans), the Thane of Glamis, receives a prophecy from a trio of witches that one day he will become King of Scotland. Consumed by ambition and spurred to action by his wife, Macbeth murders his King and takes the throne for himself.

Entirely shot on green screen, Shakespeare’s Macbeth has been reinvented by director Kit Monkman (The Knife That Killed Me) in an exciting new film adaptation. Starring Mark Rowley, (The Last Kingdom, Luther). Monkman’s unique adaptation successfully bridges the gap between theatre and film to create a wholly new type of imaginative space. This radical new adaptation puts the audience’s engagement with the story centre-stage, amplifying the theatrical context of the original and creating truly innovative and thrilling cinematic vistas, whilst maintaining the language and themes of Shakespeare’s original play. Using background matte painting and computer modelling to generate the world in which the action plays out, the green screen allows Monkman to create his vision of a multi-tiered globe in which the characters play out their various fates.

Macbeth, the Thane of Glamis, receives a prophecy from a trio of witches that one day he will become King of Scotland. Consumed by ambition and spurred to action by his wife, Macbeth murders his king and takes the throne for himself.

Anthony Sher and Harriet Walter star in a highly-acclaimed screen version of William Shakespeare's classic story of tyranny and ambition. On the stage this Royal Shakespeare Company presentation was universally lauded. Following sell-out seasons at Statford's Swan Theatre and in London, the production played Japan and in the United States, where The New York Times praised director Gregory Doran's interpretation as a "harrowing and disturbingly funny parable for the dawn of the 21st century". To make this compelling screen version, Gregory Doran worked with all of the original cast and filmed at London's Roundhouse. Brilliantly shot by director of photography Ernie Vincze, the production uses the edgy techniques of fly-on-the-wall documentaries. The effect is raw, intimate and strikingly dynamic.

An adaptation of Shakespeare's play.

A Finnish film version of Macbeth. Macbeth, the Thane of Glamis, receives a prophecy from a trio of witches that one day he will become King of Scotland. Consumed by ambition and spurred to action by his wife, Macbeth murders his king and takes the throne for himself.