MACBETH by Justin Kurzel

Homepage > Long Reviews > MACBETH by Justin Kurzel

JUSTIN KURZEL takes on one of the most famous SHAKESPEARE plays, as well as one of his darkest. His adaptation of MACBETH is one of the most intense cinematic experiences of the year.

The general concern when it comes to adaptations of acclaimed works of WILLIAM SHAKESPEARE is that they might not be able to bring anything new to the table or be able to impress and surprise its audience. Truth be told, these prejudices are mostly unfounded. While it is true that there is a large number of unimpressive cinematic works based on one of the most celebrated figures in the history of literature, this is only due to their very large number. Take for instance HAMLET - the story of the Prince of Denmark has been adapted numerous times, and yet KOZINSTEV's version which constructs drama through its attention to the political machinations of the original text, is rather different in almost every way than the LAURENCE OLIVIER vehicle from the forties.

This is a prime example of SHAKESPEARE being one of the most adapted authors simply because of the versatility of his writings. While it is true that they all have a cohesive and plain structured narrative on the surface, they also allow different interpretations, particularly in their psychological aspects. This of course allows ambitious auteurs to put emphasis on some of the aspects of the narrative that come closer to their own sensibilities.

This is certainly the case with JUSTIN KURZEL's adaptation of MACBETH. The Australia filmmaker arguably captured international attention with his powerful drama SNOWTOWN, which was generally accepted as being remarkably "depressing". It is no wonder hence that the director should have chosen the Scottish play for an adaptation, as that also is arguably the darkest of SHAKESPEARE's works, as well as one of his shortest plays. It is also often associated with the paranormal, due to its flirtation with more fantastic aspects, namely the pivotal role of the three witches, whose prophecies influence the turn of events that eventually lead the titular, brave and loyal Thane to become King through murderous, unholy deeds.

But KURZEL's film doesn't show all this by flashy means - the weird sisters are very much part of the world in which the film is set, and as such there is no need to make them look any less organic than anything else that unfolds on the screen. In fact, the most stylized images in the film do not come from its supernatural moments, but rather from the battle and murder sequences, that are very gory and graphic, purposefully so given the fact that the film is meant to be heavily defined by a darkness and despair that is cohesive with the development of the character of Macbeth into a maddening frenzy.

The cohesive vision also depends upon a certain degree of stylisation for which the ADAM ARKAPAW is very commendable. The well calculated movements, the play on lights and shadows and also a natural veering towards more expressionistic routes with imagery of red skies and fires of hell that infuse MACBETH with a nighmarish outlook. Because the sequences blend in with one another, however, none of this daring approach seems distracting or abrupt. The events unfold in a remarkably fluid fashion, and heigthen the intensity of the psychology. However, the excellent work of make up put a certain organic emphasis on the scarred bodies of most of its characters - it is a testosterone fuelled vision of lust and thirst for power, which reveals the weakness of the soul as much as it is keen upon representing the vulnerability of the players in this "game of thrones" through their flesh and blood.

As with all adaptations of SHAKESPEARE's works, both on the big screen and on the stage, the acting is always very important, and one would presume, incredibly difficult. But the casting is absolutely excellent. MICHAEL FASSBENDER confirms himself as one of the best actors of our generation with an intense turn. His emotions remain almost unreadable throughout and yet the development of his hopelessness is crystal clear. This understated manner of his performance is pivotal in revealing the character of Macbeth's helplessness - it is as if he were autopiloted not only in his ambition, but also in his role as a figure moving by means of written prophecies. It also appears as if he were only liberated when putting on war paint and returning to the battle field, his natural habitat.

One of the most interesting aspects of the original story has always been his relationship with Lady Macbeth. In this film too, the interactions between the two characters are fascinating driving points of the plot. MARION COTILLARD is excellent in her role refrains from chancing a Scottish accent, unlike all the other characters in the film, but this choice ironically is collaterally and possibly involuntarily victorious, as they alienate her character even more from the rest of the world surrounding the titular character.

Here, KURZEL refrains from any show of melodrama. But it is to a purpose. There is a reason why the film begins with the burial of the son of teh pivotal couple - it is as if their emotions have been wiped out or simply replaced. In a moment in which FASSBENDER's Macbeth shows his authority via a public hanging, he suddenly turns to face his wife and partner in crime and asks her in a soft and private manner why she remains silent. It is moments like this that reveal a rewarding, enigmatic and yet understated attention to the human side of a story that is doomed to end in tragedy right from the beginning.