“Oh, what tangled webs we weave when first we
practice to deceive” (Sir Walter Scott,Marmion, 1808). This
could be a comment about MacBeth. The bloody tale is made even more
striking in this film by the watchful eye of Director Justin Kurzel and the
expressive cinematography of Adam Arkapaw. The two preface and enhance every scene with the camera and
the brilliant use of colors, especially red. Red symbolizing not only copious blood, but as well the
danger as fear and suspicion become activated when power and supremacy are
issues. I think the battle scenes
are especially well done in slowing down at times to show individual actions,
but still maintaining the frenzy of such battles.
It seems quaint in contemporary times to see
how much weight “prophesies” had in previous generations of man. But when three mysterious witches
appear to Macbeth (Fassbender) prophesying his elevation to king and the nature
of his death, he elaborates on their words with constructions from his own
mind. But Macbeth’s
friend/colleague and fellow warrior Banquo (Considine) is also present and
hears prophesies related to him and his son.
Upon hearing that her husband was awarded
positions of thane in two counties and then one being abruptly withdrawn, Lady
Macbeth (Cotilliard) enters the picture.
She believes the prophesies, and being as ambitious as Macbeth, sees no
reason to simply wait for prophesies to be fulfilled. She urges Macbeth to take action.
When King Duncan (Thewlis) is killed, Banquo
has some reason to suspect Macbeth, and when Macbeth senses this, we see the
infective nature of paranoia, which blossoms freely in the rest of the
plot.
Fassbender as Macbeth is flawless, and he and
Cotilliard as Lady Macbeth make a perfect duo, carrying us through the tragedy
and her ultimate guilt in bravado performances. Supporting actors Considine and Thewlis, along with Sean
Harris (Macduff) and Jack Reynor (Malcolm) measure up nicely.
This is a very good production of a classic
Shakespeare play, and it is noteworthy for the clarity of the dialog even
though spoken in Shakespearean language—something oftentimes difficult to
understand for American audiences.
A worthy new production of a classic
tale.
Grade: B+ By Donna R. Copeland
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