MacChef Scene Analysis

MacChef Scene Analysis

Aspyn Saunders

(It is recommended to watch the scene before reading time stamp 12:00-13:04 BBC ShakespeaRe-Told – Macbeth (aka “MacChef”))

In the garbage man scene from this interpretation, we see a reimagined idea of the witches and a look into the type of relationship Billy and Joe have. The scene highlights an interpretation of just how close the two men are by showcasing their genuine care for each other. Then, instead of giving the garbage men a sort of supernatural outlook, we see them replaced with ordinary, but still overlooked and exiled from society, type of characters. Due to this emphasis, there is a switch in understanding of motive. Instead of messengers simply relaying a prophesied message, we see ordinary people posing a future that is left up to interpretation by the listeners. By removing the supernatural elements, this scene introduces a sense of vagueness that forces the audience to question whether Joe’s future is really a prophecy, or  rather a suggestion. By choosing to focus on the type of relationship Joe and Billy have we are able to connect more emotionally with the characters. This interpretation puts an emphasis on physiological manipulation as opposed to fate, showing an already present desire and ambition that is heightened by a few words. 

To start, when looking at Joe and Billy themselves in this scene we see how the director wanted to focus on the closeness of these two characters. In Macbeth we know that Banquo and Macbeth are friends. Most likely a bond formed from fighting a war together. However, not much insight is given into how close they truly are. In contrast, this film does a great job at expressing a close friendship. At the beginning of the scene we see Joe and Billy playfully fighting with one another, something you pretty much only do with a close friend. We also see them mostly standing quite close to each other showing comfortability. Then, once they are out of harm’s way after nearly avoiding the trash bin and garbage truck the first thing Joe yells out is Billy’s name and when they are reunited he asks if he is alright. Instead of immediately trying to figure out what just happened he is first worried about the wellbeing of his friend. I feel that this show of care for a friend later makes the betrayal much more upsetting.

Next, we see the three witches depicted as garbage men. I feel that this choice holds true to the idea that the ones relaying the message are supposed to be seen as being on the outskirts of society. In the modern world typically garbage men would be a forethought related to this topic due to them dealing with everyone’s discarded leftovers. On the other hand, instead of keeping to the supernatural feeling, as stated before, in this version the supernatural aspects are exiled. The men even say, “We know everything, we’re bin men. There’s nothing we don’t know.” I feel that this suggests that they know everything because they are everywhere. Something that is also interesting is the choice to stay true to the text and not elaborate on the motivations of the messengers. As stated, in the text we aren’t sure how the witches know what they know. With the character roles being named Witch 1, Witch 2, and Witch 3, in addition to a line from Banquo in the original text stating, “Wither are they vanished,” it is common for readers to just assume they have some sort of unworldly influence. However, in the video, the garbage men don’t merely vanish into thin air. Instead, they are seen leaving on the garbage truck. This choice further allows watchers to assume they are normal civilians. This interpretation places more responsibility on Joe Macbeth and how he chooses to construe what is being spoken to him. 

Another important choice for this scene is the choice of tone. Shakespeare’s version and most stage productions lean towards a dark and ominous tone when it comes to Macbeth learning of his future fate. While this scene version still has a few dark and scary moments, there is also a humorous and almost ordinary tone at play as well. While Joe and Billy are initially freaked out, by the end of the interaction, they just laugh it off and carry on. I feel this proves that even though they were just told life-altering information, they decided to not take it too seriously. Afterall, they are just garbage men, what do they know? Later, when Joe decides to believe them, is it really because the garbage men can tell the future, or is it because the idea was planted in Joe’s mind? Another aspect that adds to the humorous tone is the child’s nursery rhyme that is spoken and the song sung as the men are excited. Both instances aren’t necessarily expressed in a tone that suggests fear is an emotion they are trying to invoke. Instead, the nursery rhyme is used as a bridge into the main point of the conversation. Then the repeated singing of “and his sons” is sung in a light, almost jokingly tone. Due to the interaction feeling so ordinary and light-hearted by the end, how the interaction is interpreted is up to Billy and Joe, furthering the idea of you believing what you want to hear.

Overall, the choices made in this scene reframe Shakespeare’s elements into a more psychological interference rather than a supernatural one. By removing the supernatural aspect and emphasizing an almost ordinary, humorous interaction the filmmaker suggests that ambition isn’t an act of fate but rather sparked by suggestion and personal choice. Just because the garbage men say something will come true doesn’t mean it will. They don’t control Joe’s future, they simply put a thought into his head. In the end what matters is whether Joe chooses to act upon it or ignore it. Furthermore, the portrayal of Joe and Billy’s friendship deepens the emotional understanding of who they are to each other. By emphasizing their genuine care and closeness the film makes Joe’s eventual betrayal feel more personal and devastating. What starts with a lighthearted friendship ultimately meets the consequences of ambition all the more tragic.

Edited and Reviewed by Clarence Clark

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