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(20/10/15)
“Macbeth conclusively feeds an admiration of darkness, hopelessness, and seclusion”
“Fair is foul, and foul is fair.” Justin Kurzel’s rendition of Shakespeare’s Macbeth reemphasizes how prudent The Scottish Play can still live up to in today’s society. To the uninitiated, Macbeth is a tragedy which follows how a Thane of Scotland, performed by Fassbender, is prophesied by three witches that one day he will become King of Scotland. Spurred by his incredibly ambitious wife (Marion Cotillard), Macbeth is inundated with determination, diligence, and avarice to consume the throne for himself.
While Kurzel seemingly coerces a sense of divergence to the original play, it is this differing take that I immensely respect; it’s certainly been a while for Shakespeare to hit the mainstream screens once again, and along with Baz Luhrmann’s Romeo + Juliet, his works are evidently, and most rightly so, evolving. While the Shakespearean dialect retains the status-quo, along with the play’s periodic setting, Kurzel introduces us to a rather outlandish yet deeply stylistic approach to the cinematography. This was the first thing that allured me upon viewing the trailer several months prior – the deep, intense crimson reds and blinding whites that conclusively filter the frame and present the film for what it truly is; a film about grit, violence, and subsequently delusion. The shots are so profoundly and intentionally frightening to replicate that of the premise of the story; Kurzel ultimately did not fail here, and his soon-to-be ambitious next project Assassin’s Creed, based of the video game, will certainly live up hopes. Conclusively, even if the dialogue is unbeknownst to you, the visuals alone will help produce the story’s meaning.
What is more is Jed Kurzel’s (sibling of Justin) brilliantly desolate and lurid soundtrack which highlights the insanity of Macbeth’s character, coupled with the wretched and cold environment of Scotland in the midst of its civil war. It’s truly harrowing, and projects an awe of hopelessness, intentionally confusing the audience on what sides to pick. The compositions present an idea of being in limbo – totally deprived of a way out as dissonant cellos rupture simultaneously. If I haven’t already explained that this movie is dark, it is dark (and that is not hyperbole).
It also goes easy to say that the character development was wonderfully precise. As expected, with Fassbender adopting the lead role (whose favourite performance of mine is still that of Edwin Epps in 12 Years A Slave), you could see he comfortably fit into his role which begins out as a man just doing his duty to a man subsequently becoming power hungry and insane. Alternatively, Cotillard’s role eagerly contrasts to that, mirroring Fassbender’s personality; she begins off power hungry and brinking on a characteristic somewhat of delusion, to gradually becoming more moderate and more conscious of her husband’s actions to which once she dreamed of. As the movie progresses, Fassbender becomes seriously horrifying to watch; he becomes a total recluse, distancing himself from his council and subsequently Lady Macbeth as he commits unjustified acts of murder among his own people. This could pose the idea that he was traumatized following the gruesome murder of his predecessor King Duncan – “O’ full of scorpions is my mind”, he explains to Lady Macbeth with a smile on his face. Alongside this tale is Malcolm, son of Duncan, who begins a rebellion against the throne by garnering support from the English. Macbeth ultimately is driven to madness.
While Macbeth adopts both very unique and precedented techniques, some faults occurred upon viewing. Whether intentional or not, in some instances it became rather difficult to understand our characters, not because of the Shakespearean dialect, but literally because of the nature of groans and mumbling (which could have possibly been aided with sound design). However, I could refute this comment as I wrote previously that the visuals can do the storytelling itself. Albeit, once Macbeth is released on DVD, I would eagerly recommend subtitles upon viewing. Ultimately, Macbeth is sincerely aimed at a specific audience, as working at a cinema has made me realised that there are occasionally people walking out during the picture – not in the sense that it’s bad, but it’s eerie nature and somewhat clouded story turned people off. It’s not for everyone. Perhaps you have to be in the right mood and mindset upon viewing Shakespeare’s works, but in spite of all this, Macbeth conclusively feeds an admiration of darkness, hopelessness, and seclusion, which is fairly bereft in today’s cinema.
Matthew Alfrey
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