The Tragedy of Macbeth

BFI London Film Festival The Tragedy Of Macbeth shows that Joel Coen can do it alone without his brother. This film is nothing short of spectacular, some of the greatest cinematography I've probably ever seen, the monochrome adds even more beauty to such a well shot film too, I could compare the cinematography to some of the greats of cinema like Bergman. Denzel Washington kills his role as Macbeth, showing how diverse his acting skills can go, he's almost a completely different person, I would have never imagined him doing old English speech, but we go it, and he doesn't mess it up at all, his emotions shot in the 4:3 aspect ratio is tremendous, once again leaving the cinema wanting every film to be shot in it.

I'm usually not a huge fan of Shakespeare on screen, but "Macbeth" is my favorite Shakespeare play, so that combined with my curiosity about what Joel Coen would do with the material drew me to see this one. It's really good, and it fully embraces what I like best about the play, its twisted and macabre aesthetic. Coen goes all in on atmosphere, and this has to be one of the most gorgeous looking movies released this year. Rather than try to open up the work for the screen, he instead goes the opposite direction, making this film look purposefully artificial, like it's being performed on the grandest of theater stages.

The acting is superb all around, but it's Kathryn Hunter, playing a variety of characters throughout, including all three witches, who walks away with the movie. I was slightly disappointed with Frances McDormand as Lady Macbeth. It's not that she's bad, it's just that this is such a juicy role and I felt like an actress as formidable as McDormand could make something truly memorable out of it, but instead it's a serviceable but uninspired interpretation. If you want a really memorable version of the Lady Macbeth character, take a look at Isuzu Yamada's take on it in Akira Kurosawa's "Throne of Blood." That performance will make your hair stand on end.

One of the things I never like about Shakespeare adaptations is that they always feel so stage bound and insular, no matter how much writers and directors try to make them fit a cinematic medium. "The Tragedy of Macbeth" also feels stage bound and insular, but since Coen decides to film it in a way that enhances its artificiality rather than try to compensate for it, I enjoyed it much more.

Grade: A-

The premises remains what can expect from a new version of Macbeth. Sure, for me, to see Denzel Washington, Frances McDormand or Brendan Gleeson in the roles who I know. To discover the vision of Joel Coen about the Shakespeare's play . To expect , in fact, nothing , because what can be said was , in wise, brilliant and precise manner said by previous adaptations ?

The result - impressed by cinematography , having new proof about the admirable artistic skills of Denzel Washington, the precise portrait of lady Macbeth created by Frances McDormant, beautiful Banquo of Bertie Carvel ( maybe, too much make up )

Brilliant - off course- for the flavors of old BBC adaptations, for the illusion of animation in few scenes, for black and white clash , for a Macbeth, Seyton, Angus and Macduff in dark skin and the thought to an Othello acted by an Albino actor.

Admirable for cinematographic solutions and for the certitude than Denzel Washington deserves his Macbeth with high measure. Because he gives just the great force to his role.

The music is inspired, the solutions - the case of witches - admirable animated by Kathryne Hunter is good example are the source of appreciation, in same measure.

Short, I admitt - it is a film who I love. For great use of cinematography, for solutions for details, for poetry of locations, for the wise reflection of each crumb of tension.

In the trailers, the most we get of the weird sisters is a glimpse of some shadowed silhouettes, and Kathryn Hunter sitting on a high beam chanting the famous "pricking of my thumbs" line. But from the FIRST scene of the film, you recognize the power she wields as an actor. Not only does she play all 3 sisters, and switch between them with Gollum-like fluidity, but her physicality contorts with such deliberate eeriness that for the first time in a long time, I was reminded of how terrifying the character(s) can be. Also, her vocal and rhythmic control of the witches' incantations- perhaps some of the wackiest lines Shakespeare ever penned- is masterful, elevating them to an effect that might haunt the Bard himself. A rare and memorable performance that left me with a new appreciation for the odd, yet profound presence of the supernatural in this play.

Denzel and Frances are masters in their own right. While their performances as the Macbeths may not be as striking as Hunter's, they nonetheless make for a very good pair to carry this film's weight, and each bring a grounded freshness to their lines. One thing I really appreciate was that they didn't "rise themselves up" to the weight of these characters, but rather brought the characters down to them. Instead of expanding their presence to fill the shoes of giants, they let the words filter through them with the coolness of their own natural presence. I could see and hear Denzel and Frances adopt the text in their own cadence/mannerisms, and (to quote another Shakespeare play) "acquire and beget a temperance that may give it smoothness."

Finally, Joel's vision really makes this adaptation stand out. Its aesthetic is a clever blend of film and theatre, employing the intimacy of one with the uncanny semblance of the other. Not only does this effect serve the presence of ghosts and witches well, but it gives the whole piece an almost dream-like quality that draws you in like the air-drawn dagger. But beyond that, Joel's understanding of the text and concept as a whole is so sharp that his own changes to certain scenes/characters offer a savvy new take on a 400 year old tale.

First, Denzel Washington is very good. But all that restraint needs to be let loose at some point, and it isn't. The black and white staging and lighting is more like a throwback to German Expressionism than anything actually new. Frankly the direction, staging, and cinematography detracted from the excellent acting, and the whole thing felt very heavy handed. I wanted it to be great, I really enjoy the play, I enjoy Coen's other movies, but it just did not quite work.