Welles's Macbeth and the Ahistoricism of Medieval Film. From its opening words, the film stakes a claim to historicity—claiming to depict the period of Christianity's first penetration of a barbarian world—that is belied by virtually everything that follows: In Welles's version, as in Polanski's later and better one, Macbeth doesn't lead to King James; he leads to another Macbeth. In so doing, Welles both conforms to and helps to shape the conventions that have controlled the depiction of the Middle Ages for at least the last fifty years of film history.
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A Renaissance drama in which numerous characters appear as the embodiment of stereotypical "types" of people, each character having the physiological and.
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