The Tragedy of Macbeth

Bold, minimalist, and grim – Joel Coen’s adaptation of The Tragedy of Macbeth is a stark vision in black and white amidst the “shadows and fog.” Joel may be working sans brother Ethan for the first time, but he isn’t alone. Cinematographer Bruno Delbonnel and production designer Stefan Dechant support his vivid display of German expressionism. The movie shot on a Los Angeles soundstage is an austere stage drama but with cinematic flourishes thrown in to maintain interest. There’s a lot on which the eye can feast although computers still can’t seem to render a realistic-looking bird. Oh, but brush up your Shakespeare! This version makes no concessions for those not intimately familiar with the text.

You’ll probably get the gist of it. Lord Macbeth (Denzel Washington) and Banquo (Bertie Carvel) win a decisive battle over the treasonous Thane of Cawdor, for King Duncan (Brendan Gleeson). On their way back from combat they meet three witches (all portrayed by Kathryn Hunter) who prophesize that Macbeth will be awarded the next Thane of Cawdor, then become King of Scotland. Macbeth and his scheming wife Lady Macbeth (Frances McDormand) collude to assassinate Duncan and take the throne. It all ends in a lot of deaths, like every great Shakespearean tragedy.

Naturally, the language is pure poetry. Disciples of the text will be in heaven. Phrases like “the be-all and end-all”, “at one fell swoop”, and “crack of doom” all first appeared in Macbeth. This is an ensemble with an A-list cast. Stars Denzel Washington, Frances McDormand, Brendan Gleeson, and Corey Hawkins all contribute. However, it is considerably less well-known theater vet Kathryn Hunter who makes the biggest impression. She appears as one entity that can shapeshift into three witches, contorting her body in odd shapes as she speaks in raspy tones. As she sits looking downward in the rafters, the floor turns into an imagined reflective pool. That re-interpretation of the cauldron scene (with no metal pot) is a stunning highlight.

Sadly the issues I have are attributable to the Bard himself. An emotional attachment to anyone in the cast of Macbeth is elusive. The central role is consistently evil and the rest of the characters aren’t likable either. Without someone to champion, we have “no dog in this fight.” People are slain left and right and I couldn’t even summon up the feeling to give a care. Justin Kurzel, Roman Polanski, Orson Welles, and Akira Kurosawa have all launched adaptations. Throne of Blood is the most compelling, but then again, Kurosawa dispensed with Shakespeare’s language. Joel Coen makes a valiant effort but fails to convince me this play is anything more than an evocative curiosity of Elizabethan English that students can pick apart and study. It will no doubt have a long run in classrooms for the next decade by English teachers who use movies as an “instructional tool.”

01-14-22