tempts to answer to this ambiguity in the last scene of his production of Macbeth. The evening turns to dusk, and the air holds a hazy mystical feel. The sound of the witches playing a flute-like musical instrument rises from behind two large rocks. Then Donalbain, leaving his horse behind, limps toward those rocks intently looking for those whom he believes reside there. He then disappears behind the rocks and the music stops, insinuating that they will now prophesize the future for Donalbain. In his last scene, Polanski leaves the viewer with the notion that the witches control fate like puppeteers with their dolls, and the kingdom and its inhabitants are mere pawns in their game. Donalbain stands to gain the throne after the death of his elder brother Malcolm; therefore he becomes the perfect toy for the witches.
             Polanski creates this notion that the witches control the kingdom and its inhabitants in order to prove that ultimately Macbeth does not control his own fate and therefore does not hold responsibility for his own actions. Macbeth foreshadows the idea that fate holds ultimate power and people only act out their minor roles in the brief production of life, when he says, "Life's but a walking shadow, a poor player/ That struts and frets his hour upon the stage/ And then is heard no more"(5.5.24-26). Then Polanski reinforces the same idea stated in Macbeth's speech in the final moments of the production with the image of the witches controlling Donalbain just as they ultimately control Macbeth during his life.
             Similar to the Polanski production, the Orson Wells production also supports the idea that the witches control fate and that Macbeth stands powerless against the forces of the witches and the predestined outcome of his future. The last scene of this production contains a hazy mysterious feel due to the setting of the sun and the smoke-like clouds hovering low around the castle. The witches stare at the ...