Plays are open to the interpretation of the director, Shakespeare's Macbeth is no exception. In the four versions shown in class, numerous differences in the directors" visions become apparent. The first point of difference are the witches. In Orson Wells" version, the opening witch scene dialogue is interspersed with the dialogue of act IV scene I. The witches are creating a brew and in it go the ingredients mentioned in the said act and scene. They make a statue, presumably of Macbeth. It is malleable and presumably symbolizes the way in which the witches mold and shape Macbeth's destiny. This goes with the interpretation of the witches playing the part of the fates. The witches in Wells" version are traditional hags, with hagish hair and voices, though their faces are never seen. They vanish into thin air, exhibiting supernatural powers that are not shown by Nunn and Polanski's witches.
Polanski's witches are a far cry from the traditional broomstick-riding witch. Polanski's witches resemble caravan gypsies. They are shown as representing three generations whereas Wells" were identical. These witches meet on a beach and are seen meddling with a noose, and the traitorous Thane of Cawdor was hanged. I presume that the witches influence the thane to further the ends of their first prophecy so that Macbeth will take great pains to achieve the final prophecy. Other than perhaps influencing the Thane of Cawdor, these witches exhibit no supernatural tendencies. They flash Macbeth lewdly and run away. Not exactly the hocus pocus of Wells" hags. .
Nunn's witches are understandably even more normal, since it is a stage production. Unlike Polanski and Wells" versions, these witches mention their familiars, a very minute point. These witches were younger than the hags of Wells and the eldest crone in Polanski's. These witches also vanish, creating the effect of supernatural powers, although they just step out of the light.
