Written and directed by Joel Coen.
With Denzel Washington, Frances McDormand, Alex Hassell, Bertie Carvel, Brendan Gleeson, Corey Hawkins, Harry Melling, Miles Anderson, Matt Helm, Moses Ingram, Kathryn Hunter, Lucas Barker, Stephen Root, Robert Gilbert, Ethan Hutchison, James Udom, Richard In short, Sean Patrick Thomas and Ralph Ineson.
A Scottish lord is convinced by a trio of witches to become the next King of Scotland, and his ambitious wife supports him in his plans for power.
Even with one Admittedly, admirable filmmaker at the helm of Joel Coen (his first directorial work without collaborating with his brother Ethan), I had some reservations about how effective another rendition of William Shakespeare’s legendary cursed Scottish play Macbeth would feel. Not only is it a story almost everyone knows from the high school curriculum or cultural osmosis, but not even five years ago there was a version by Justin Kurzel with impressive main curves and dazzling colors. And if you haven’t seen it, you’ve probably seen one of several legendary filmmakers who took up the story. Fortunately, The Tragedy of Macbeth feels different in Coen filmography (although this isn’t the first black and white film of his, it also has the added academy ratio distinction and was shot on a soundstage) while always Still possesses themes that have influenced its protagonists for decades.
With this in mind, the real reason to see The Tragedy of Macbeth goes beyond Joel Coen’s conception of the cornerstone of the story (whether it is a disturbing, haunting performance by Kathryn Hunter deals with the newly ascended king and queen who went mad, the exciting final battle, and more). In the title role, Denzel Washington is absolutely mesmerizing, weaving his signature mannerisms and vocal tics into classic Shakespearean monologues, resulting in something fresh and new. Just as convincing are Denzel Washington’s outbursts of anger and the impressive brute force physicality. He plays all known beats, especially honoring the source material with the dialogues; In addition, there is more Denzel Washington in the performance than Macbeth, but such a balanced combination that this embodiment of the character becomes hip and traditional.
Frances McDormand is also convincing as Lady Macbeth, who excels at inciting her husband, while she mentions his cynicism regarding the prophecy foretold of becoming king. Of course, such predictions of the future are told by three witches, who are visually represented here as decrepit humanoid crows with fluttering bird-like arms. It’s creepy and unsettling, and proves that Joel Coen is well aware that the language shouldn’t be tinkered with so much (he adapted this version for the screen himself) as the imagery. Take the black and white aesthetic, where shadows dominate almost every image, which turns out to be additionally unnerving given the ongoing suspicion and paranoia throughout the narrative.
Denzel Washington and Frances McDormand are an undeniably electric couple, which devours memorable monologues and extensive passages as a screen duo. The tragedy of Macbeth remains a tale of corruption and ambition, with breathtaking monochrome photography by Bruno Delbonnel (Inside Llewyn Davis) dynamically brought to life from visions, leaves and ghost sightings. The roots of the stage play are taken up, coupled with poetic kinetic energy. It’s not just a visual feast for the eyes either, because the sound design uses the fearful tone with loud beats that are sometimes methodically placed on rainwater drops that hit solids.
There is also room for a relatively strong supporting cast, which is without much actual character development can shine, including Corey Hawkins as Macduff (the diversity in the cast of this adaptation is another highlight), Brendan Gleeson as King Duncan, Harry Melling as the king’s son, and glorified cameos of the likes of Stephen Root and Ralph Ineson. They can all convey the story through body language, which is a plus for anyone who gets involved without brushing up on the Shakespeare lexicon. At the other end of the spectrum, those obsessed with Macbeth may not find narrative enough or exciting enough than the technical craft and the performances. Regardless, the film needs some time to really captivate the graphics.
Here, too, Joel Coen knows that any emotional response or sustained reaction to the story depends on being creative with the images. In that regard, The Tragedy of Macbeth is a triumph for Coen. Come for the classic story, or maybe even for one of the most talented first solo work of the generation filmmakers, but stay for the livewire and great insane personification of Macbeth from Denzel Washington.
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the editor of Flickering Myth Reviews. Look for new reviews here, follow my twitter or letterboxd or email me at [email protected]
Filed Under: Movies, Reviews, Robert Kojder Tagged With: Alex Hassell, Bertie Carvel, Brendan Gleeson, Corey Hawkins, Denzel Washington, Ethan Hutchison, Frances McDormand, Harry Melling, James Udom, Joel Coen, Kathryn Hunter, Lucas Barker, Matt Helm, Miles Anderson, Moses Ingram, Ralph Ineson, Richard Short, Robert Gilbert, Sean Patrick Thomas , Stephen Root, The Tragedy of Macbeth
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