What do Playboy and Shakespeare have in common? The answer is very little. Yet, for a brief period, Hugh Hefner, through Playboy Productions, looked to get into making big-budgeted movies to make the brand more mainstream. This led to a chance meeting with acclaimed director Roman Polanski, leading to Playboy Productions starting off with one of the playwright’s most recognizable works, Macbeth.
We will examine how Playboy got out of the grotto to try to class up their brand and how it led to one of the best Shakespeare adaptations ever to grace the screen. We will also break down those involved in the production and why you must watch 1971’s Macbeth.
While Playboy has become synonymous with x-rated content as well as the stained legacy of its owner, as explored in the docuseries Secrets of Playboy, Hugh Hefner always had grander aspirations for the brand. This included getting into the realm of what the public would consider to be more acceptable content. As part of Playboy Productions, later named Alta Loma Entertainment, Hefner produced several feature-length films, made-for-tv movies, and original TV content to build the Playboy brand into something everyone could enjoy, though often still with a sensational edge that had made Hefner famous.
This led to the first, arguably best, production to carry the Playboy Productions moniker with Macbeth. Roman Polanski’s Macbeth was having issues securing funds, being turned down by Paramount Pictures, Universal Pictures, and Metro-Goldwyn-Mayer, who felt it was an unmarketable follow-up to his previous film, Rosemary’s Baby. The timing was right, as Hefner had recently built Playboy Productions and was looking for a movie, so when he met Polanski at a party, he soon agreed to help fund the movie. Hefner’s involvement was announced in August 1970, and the budget was set at $2.4 million.
Notable films and TV shows produced in full or in part by Playboy Productions or Alta Loma Entertainment:
Actor Jon Finch was cast to play the lead role of MacBeth. Finch was a distinguished British actor known for his knack for Shakespeare adaptations on the screen and stage. While Macbeth (1971) would become one of his best-known roles, he also had the lead role in Alfred Hitchcock’s Frenzy, John Schlesinger’s critically acclaimed Sunday Bloody Sunday, and a supporting role in 1978’s Death on the Nile. Francesca Annis, who played Lady Macbeth, is best known for her role as Lady Jessica in David Lynch’s Dune but has been a staple of British TV, amassing over 100 credits. The roles of Banquo and Macduff were played by Martin Shaw and Terence Bayleaf, and while mostly unknown outside their native Britain, they have also been staples in film and TV.
The movie was directed by now-contentious Roman Polanski, who wrote the script alongside Kenneth Tynan. At the release of Macbeth, Polanski had already established himself as a future titan in the industry, and his works The Fearless Vampire Killers, Repulsion, and Cul De Sac were already gaining critical praise. More importantly, the movie came from the landmark horror movie Rosemary’s Baby. Another notable inclusion in the production was the experimental British band “The Third Ear Band.” which used a unique mix of electronic music, hand drums, woodwinds, and strings to create a one-of-a-kind score.
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It should be noted that Macbeth (1971) is not the most accurate Shakespeare movie, with that honor likely going to Franco Zeffirelli’s Romeo and Juliet (1968). As far as adaptations of Macbeth, Roman Polanski’s work did stay faithful in many aspects, but there are other works, like Orson Welles’ 1948 version and the 2010 television adaptation starring Patrick Stewart, arguably being more accurate renditions.
The other element to consider is the time frame in which the film was released, with this being the first film Roman Polanski made after the murder of his wife, Sharon Tate, by the Manson family. While Polanski has been adamant that this did not affect his time on set or change any of the themes, in the historical context for those familiar with the filmmaker and the tragedy, certain moments like the murder scene of Lady Macduff and her children potentially hold a deeper significance.
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Roman Polanski’s approach to the play made for a very impactful adaptation whose brilliance still resonates today. Taking a naturalistic approach and focusing on character flaws rather than inherent evil made the tragedy more relatable. The ability to empathize with Macbeth and others also comes from using voiceovers to turn soliloquies into interior monologues; one feels they are stepping into the characters’ shoes. The approach to violence and sexuality was also realistic, giving the work a slightly sensational edge that drew in those expecting Polanski’s bold visionary approach to shape his version of Macbeth.
The other production elements combine perfectly, from the beautiful cinematography to the sensational performances and avant-garde score; Macbeth (1971) remains the best Shakespeare adaptation of the ’70s. Polanski turned Macbeth into a violent fever dream in a way only the director could create.
Macbeth being the best Shakespeare adaptation will be slightly subjective. Those not wanting sensational elements and a closer vision of what the stage play would have looked like may find the work excessive. In addition, those who don’t want to approach Roman Polanski’s work with his legal trouble and accusations have an understandable stance. Still, if you have no reservations and want to see the greatest ’70s adaptations of Shakespeare ever, you can rent Macbeth (1971) on Prime, YouTube, or Apple TV.
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