[In Macbeth, Welles adopted] an expressionistic or subjective mode in which the consciousness of the hero colors the world which we see around him. If one is able to overlook glaring errors in execution, there is a good deal to be learned from watching what Welles has done. Consider, for example, the way in which his camera treats Macbeth. Many of the shots are from waist level, looking up, so that Welles's face seems to tower over the viewer, and, when his hand is extended, it looms grotesquely large as it nears the camera. Many of his lines are spoken as the camera looks elsewhere…. The mind of the speaker, the world around him, and the world we see are all one. That world is like none known on our earth, a castle which is a labyrinth of caves, their walls oozing with watery slime, while outside lies...