Justin Kurzel’s Macbeth is a haunting, dark and all imposing take on Shakespeare’s immortal text, led by the brilliant performances of Michael Fassbender and Marion Cotillard.
Many a Shakespeare adaptation has graced the big screen to varied results, yet few have managed to climb out of the Bard’s dominant shadow. Macbeth joins that select group. Drenched in darkness and illuminated by hellfire, Macbeth is the perfect follow up to Kurzel's uncompromising debut Snowtown: a grand yet grizzly story of power, violence and madness.
Set in 11th century warring Scotland, the film stars Fassbender as Macbeth, a duke under King Duncan (David Thewlis) who after a bloody and victorious battle is visited by three witches with a premonition that he will rule the kingdom. With the urging of his wife Lady Macbeth (Marion Cotillard) he kills the king and takes the throne, as his violent acts and the ghostly spirits who are a consequence of them drive Macbeth to madness.
Where the likes of Romeo & Juliet and Hamlet have long been the go-to for Shakespeare adaptations, Macbeth has seldom been given the cinematic treatment with the last adaptation by Geoffrey Wright back in 2006 and prior to that by Roman Polanski in 1971. The reasons are numerous, namely there is a darkness to its story and characters that doesn’t quite match the gaudy interpretations of the Bard’s texts that most filmmakers succumb to.
However Kurzel has an ability to frame that darkness of Macbeth into a world where murder, madness and tyranny reigns, the product of one mans insane rule that leads to decisions where blood is shed without bias, and the thick fog of insanity clouds the foredooming hell of revenge justified.
One scene that features a literal Hell on Earth is astoundingly and eerily created by director of photography Adam Arkapaw, the highlight in a tremendously striking looking film where thick dark tones perfectly represent the blackened minds of its characters.
The performances on show are exceptional, as an excellent cast deliver Shakespeare’s text with conviction and uttered through rugged Scottish accents.
Fassbender is tremendous as the title character, suitably underplaying the grandiose role that in lesser hands would be a thing of theatrical aplomb, yet in those of the Oscar nominee is a simmering and gritty portrayal of ambition turned insane. Great too is Cotillard, portraying that balance of wicked temptress and regretful Queen of sorrow with a subtle power. (Kurzel’s decision to play out Lady Macbeth’s persuasion of her husband to do murder most foul while having sex one that was brilliantly conceived.)
Most impressive of all is Sean Harris in his portrayal of Macduff, a loyal official to the king whose suspicion of Macbeth brings death to his front door. A pivotal scene where Macduff reacts to news of a horrible injustice is incredibly powerful, Harris acting the hell out of the moment with soul crushing anguish. In the inevitable push for awards recognition, here is hoping that Harris receives strong consideration.
While Shakespeare is very much a thespians best friend, the strength of Macbeth is that in every way it is a director’s picture, with Kurzel stamping his claim as not only an authoritative visualist but a filmmaker who can draw out raw performances from his actors. It is quite the effective combination to possess, and one which Kurzel has utilised to masterful effect.
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