This is one I was definitely intrigued by, and having now seen it, I can say I liked it but wasn’t quite wowed. While this stylish adaptation features some cool artistic touches and some fine acting, I didn’t entirely connect with it.
Macbeth, the thane of Glamis, is thunderstruck when three witches appear before him with a prophecy. It at first seems unfathomable that he could ever find himself crowned king, but when other aspects of the prophecy start coming true, Macbeth can no longer ignore the possibility. The only trouble? Scotland already has a king, and Macbeth isn’t sure he has what it takes to dispatch the man who stands between him and the throne. With his cunning wife whispering in his ear about ambition, Macbeth soon learns just how far he’s willing to go to see his desires made flesh.
This film was adapted and directed by Joel Coen (sans Ethan,) so it goes without saying that it’s very stylishly shot. In moody black-and-white, on sets that are perfectly realistic-looking but still give you the feel of walking through a highly-sophisticated stage production; I definitely understand why the film was nominated for Best Cinematography. The magic scenes are shot like eerie fever dreams, with the fantastical seeping inexorably into the reality. However, I do have a couple of demerits here. While the extreme shadows and liberal use of fog do a bang-up job of creating atmosphere, there are times when they obscure the actors’ faces, and because Shakespeare adaptations are such actor-driven works, any bit of the performance that’s missed is a lost opportunity.
Since this is the Scottish play we’re talking about, what of course matters most is our Lord and Lady Macbeth. Denzel Washington received a Best Leading Actor nod for his performance in the title role, and I’m still trying to decide how I feel about it. There are scenes where he knocks it out of the park, namely the big-ticket speeches like, “Is this a dagger which I see before me?” and, “Tomorrow and tomorrow and tomorrow.” In the less center-stage scenes, however, there are times where the performance is a bit too muted for me. For example, I didn’t feel much of Macbeth’s conflict until he was outside Duncan’s door. Frances McDormand’s performance as Lady Macbeth, for me, similarly falls shy of excellent but in a different way. She’s equally good in Lady Macbeth’s big moments, my favorite being, “Come you spirits.” But in other scenes, her character feels noticeably “performed,” and I find that the more naturalistically an actor can deliver Shakespeare’s dialogue, the better. So even though, when both are good, they’re very good, I don’t see that same level of quality from them throughout the entire film.
If I was going to pick a standout performer, it’s Kathryn Hunter as the Witches (while I was watching, I couldn’t figure out what I knew her from—she was Mrs. Figg in Harry Potter.) Weird and wild and creepy, Hunter brings menace and fascination to the role(s). Sometimes three of her appear at once, and sometimes the three Weird Sisters all speak to one another from a single body. It’s really effective. Also, she’s the second double-jointed actor to appear in an Oscar-nominated movie this year! Her contortionist skills really add to the performance.
Corey Hawkins plays Macduff, and the fact that the Macbeths are so much older than him creates an interesting dynamic between the two thanes. Joining Hunter are fellow Harry Potter alumni Brendan Gleeson (Mad-Eye!) as Duncan and Harry Melling (he was another one I couldn’t place as I was watching, but he played Dudley) as Malcolm. The film also features Stephen Root, who does a really nice job as the drunken porter, Alex Hassell (lately of Cowboy Bebop,) and Bertie Carvel as Banquo. All I previously knew Carvel from was Miss Trunchbull in the musical adaptation of Matilda—needless to say, he gives a very different performance here.
Warnings
Violence,
disturbing imagery, and strong thematic elements.
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