Lady Macbeth

You've been sold off into a marriage, not made in heaven, to a man who sees you only as possession, life has ended now for you, you should do, what you're told to, that's sit all day, a little pray, absorb oppression. But desires are on fire and you need passion, there are shackles that you need to have unfastened, and Sebastian's the key, can unlock all misery, by removing all unsatisfied frustration. It's not just clothes that are discarded and come off, soon the wheels of the carriage are all troughed, discretion lets you down, but you're tough, and don't bow down, although your actions may make one or two souls scoff.

Brilliant, Florence Pugh is absolutely fantastic!!!

I'm not familiar with the Lady Macbeth of Mtsensk short story by Nikolai Neskov (not to be confused with Lady Macbeth by William Shakespeare) which he wrote as a novella in 1865, although it is inspired by the famous play.

the book inspired Shostakovich to write an opera based on it.

Now we have a British film that feels incredibly French (incredibly Michael Haneke, who I think is actually Austrian) to add to its cannon.

It features a career defining performance by Florence Pugh in the title role; although the men are magnificent too (most notably Christopher Fairbanks as the intolerant Father in Law).

If you like Christopher Fairbanks through his Guardians of the Galaxy fame this is not the movie for you as it moves at glacial pace with very little dialogue, virtually no music and a LOT of fixed frames where you are invited to enjoy the cinematography in its most bleak and spartan Northernness.

"It's grim up north" might have been the poster slogan for this movie because, set as it is near the North East of England's colliery land, albeit on the moors (North Yorkshire I'd suggest), it is most certainly grim.

The story is murderously grim too and I'd expect this BBC Films production to be in the running when next year's BAFTA's are handed out with Florence Pugh a shoe in for best female actor.

Slow but sublime with excellent direction from William Oldroyd.

This film tells the story of a young woman who is sold into a loveless marriage with an older wealthy gentleman. She has a passionate affair with a servant of the house. The promise of a happier life eludes her, until she takes full control of the situation.

Initially I thought the film was really about Macbeth's wife, but I soon learn that it is not the case. The title comes from the similar ruthlessness and cold bloodedness that the leading woman and Lady Macbeth have. It is engaging to see how Katherine transforms from a timid woman into a sociopathic woman who will stop at nothing to get what she wants. The pacing is a little slow, with artistic shots lasting 10 or even 20 seconds but does not really help story telling. Overall, the story is good and Katherine's character is very interesting.

"Lady Macbeth" is like a Charlotte Bronte novel if the main heroine were a psychopath.

Florence Pugh plays a young woman saddled with a marriage and an estate that she did not choose for herself, who gets a taste of what it is to give in to her own passionate urges when she shacks up with a hunky stable boy and then decides that she will have a life with him no matter what or who she has to eliminate to make it happen.

"Lady Macbeth" sounds dark and juicy on paper, and it could have been a fabulously lurid spin on the Victorian Gothic template, but as treated here it's far too restrained to take advantage of the pulpy subject matter. The whole film, from the direction to the performances, really needed to go for it and not hold back. Instead, it's too quiet and slow by half, and though Pugh does an admirable job, one can't help but wonder how much more memorable a character she might have been able to create had she been allowed to really go off the rails. Maybe an odd and random thought, but the whole time I was watching this movie I was thinking what a younger Naomi Watts could have done with it.

Not a total misfire, but nowhere nearly as good as it could have been.

Grade: B

Frances Pugh is the gravitational force of this film; not simply filling the role, but her presence consuming the other characters, the building to which she is confined for most of the film and the shots she inhabits even when silent. In that respect, it's a performance that reminds me of Glenn Close's brilliant turn as the central character in The Wife, a role and film that have more similarities to this than one might first think. That's not to say her performance is greedy - far from it, it has a remarkably understated power; and the rest of the cast act without ego, with great subtlety to all how her to shine in the way in which her role demands. The purpose of the title is only occasionally and vaguely apparent for much of the film, but comes into horrible and brilliant focus in the final act; it's a title the central character earns. But it's the silences that haunt the most and lend this film its creeping power - the background silence of a stately home in the middle of rural northern England; the silence of the house itself; the silence of key characters; and most of all Florence Pugh's silence as she fills the screen, motionless and noiseless in a series of near but not quite identical shots that punctuate the film like refrains, lending a quiet kind of awe to the devastating ending.