A film adaptation of William Shakespeare's tragedy of the same name, it tells the story of the Scottish general who becomes the King of Scotland through treachery and murder.

King Duncan's men arrive and congratulate Macbeth of his victory, awarding him the title of Thane of Cawdor.

Wracked with guilt over the murders, Lady Macbeth sleepwalks throughout the castle and falls over a steep cliff to her death.

[3] In 1947, Orson Welles began promoting the notion of bringing a Shakespeare drama to the motion picture screen.

He initially attempted to pique Alexander Korda's interest in an adaptation of Othello, but was unable to gather support for the project.

[4] Welles switched to pushing for a film adaptation of Macbeth, which he visualized in its violent setting as "a perfect cross between Wuthering Heights and Bride of Frankenstein.

"[5] Teaming with producer Charles K. Feldman, Welles successfully convinced Herbert Yates, founder and president of Republic Pictures, of the prospect of creating a film version of Macbeth.

Republic had already tried to present off-beat features, including Gustav Machatý's Jealousy (1945) and Ben Hecht's Specter of the Rose (1946).

When some members of the Republic board of directors expressed misgivings on the project, Welles had a contract drawn in which he agreed to personally pay any amount over $700,000.

His first choice was Vivien Leigh, but Welles never approached her since he believed her husband, Laurence Olivier, would be unsupportive.

At Welles's request Anne Baxter, Mercedes McCambridge and Agnes Moorehead were approached but they were unavailable.

[6][10] Welles brought in Irish actor Dan O'Herlihy in his first U.S. film role as Macduff, and cast former child star Roddy McDowall as Malcolm.

In order to accommodate the tight production schedule, Welles had the Macbeth cast pre-record their dialogue.

Critical reaction was overwhelmingly negative, with complaints about Welles's decision to have his cast speak in Scottish burrs and modify the original text.

I thought I was making what might be a good film, and what, if the 23-day day shoot schedule came off, might encourage other filmmakers to tackle difficult subjects at greater speed.

The site's critics' consensus reads: "This haunting, eccentric Macbeth may be hampered by budget constraints, but Orson Welles delivers both behind and in front of the camera.

"[18] Slant magazine wrote, "While French writers and filmmakers as disparate as Jean Cocteau, André Bazin and Robert Bresson celebrated the film, American critics panned it and U.S. audiences disdained it."

Film is crammed with scenery-chewing theatrics in the best Shakespearean manner with Welles dominating practically every bit of footage.

The witches also return at the end of the film, viewing the drama from afar and uttering "Peace, the charm's wound up" as the final line.

Welles later explained that the character's presence was meant to confirm that "the main point of that production is the struggle between the old and new religions.