Macbeth

I recently saw Macbeth with Michael Fassbender and Marion Cotillard and directed by Justin Kurzel and is easily my number 1 film of the year so far. While the Shakespearean dialogue may be hard to follow at times, it doesn't matter as this film is a visual masterpiece and not only i the way of shot types but also in the use of colour (which the end scene uses in a truly jaw dropping sequence). The cinematography in Macbeth is truly something to marvel at and is perfectly accompanied by magnificent performances from the 2 leads and also the rest of the cast. Fassbender was born to play this role and portrays Macbeth in a powerful and emotionally engrossing way and Cotillard is a beautiful and faultless Lady Macbeth (she has a great monologue in one scene which gave me goosebumps). Another element that I loved was the score, wonderfully haunting and powerful and matches the scenery and setting of the film. Overall, Do. Not. Miss. This. It is spectacular and I've probably hyped it up too much now but what ever its great. If I had to fault it I would saw that there are some iconic lines from the original play that aren't used in the film which was disappointing but it probably wouldn't have fit with the tone so maybe it was for the best.

While watching the film I was impressed to see what director, Justin Kurzel, was able to do with the beautiful yet tragic story of Macbeth. Director of Cinematography, Adam Arkapaw, was able to make so many innovational shots of the characters and was able to manipulate the tremendous geography of England and Scotland to his benefit. Through different shots and angles, Arkapaw was able to really bring out the intended intense emotion of Macbeth.

Throughout the entire film, the acting of all was truly riveting. The way that all of the actors portrayed the Shakespearean characters really drew me into the plot. One thing I would recommend would be turning up the brightness a little. If you are not watching in a pitch black room, you are not likely to see all details. Overall.... 8/10, not too bad, definitely worth the watch.

Was actually really looking forward to seeing this 2015 film version of 'Macbeth'. The play is one of Shakespeare's best, most famous and most quotable and has leant itself to film, with Roman Polanski, Orson Welles and Akira Kurosawa all giving it splendid treatment. The cast is a talented one, having often admired Michael Fassbender, Marion Cottilard and David Thewlis and ever since seeing him in 'The Borgias' Sean Harris struck me as one to watch.

Not to mention the great reviews. Was a little worried though too, seeing that it was directed by Justin Kurzel who directed the big misfire and huge waste of potential that was 'Assassins Creed'. Luckily, this 'Macbeth' lived up to expectations on the whole if not exceeding them. It is not the definitive version of the play, either on film or filmed production, and did have room for improvement, but for all its flaws the film on the whole surprisingly impressed me.

This 'Macbeth' isn't perfect. It is agreed not always easy to understand the dialogue, which didn't need to be as hushed or as muttered. While the film a vast majority of the time looked absolutely great, there is a gratuitous overuse of slow-motion.

Especially in the first 10 minutes or so, which were more sluggish than arresting. There are cuts and some of the omissions do affect the drama where the storytelling becomes less coherent.

For all those drawbacks, there are a lot of positives with this 'Macbeth'. Other than the slow motion, it is quite an amazing looking film, with hugely atmospheric and grandiose visuals (from the suitably myterious fog early on right up to the boldly bloodthirsty climax). The photography to me was some of the best of that year, especially in the act and those locations are hugely effective in their atmosphere, uncompromising but also oddly beautiful and dark without taking it to extremes. The music is still haunting and Kurzel's direction is bolder and less muddled than it was in 'Assassins Creed' from the following year.

Moreover, although it would have been nice if it was more consistently intelligible, Shakespeare's text is still powerful and hard to forget. The story takes time to get going but does get more compelling and remarkably ambitious, at its most emotionally investable from the point where Macduff learning of his family's murder (which has always been a very moving part of the plot) up to the end. The action is both exciting and ferociously harrowing, pulling no punches without being too unnecessarily over the top (seeing as 'Macbeth' is already a dramatically brutal play).

Some interesting changes here. Really did like that the witches weren't portrayed in a way that was too reliant on witch cliches, and were spooky underneath their deceptive exteriors. Lady Macbeth is still an effective and steely manipulator but it was interesting to see a more conflicted side to her (very different as it is not what the play indicates) rather than her being completely villainous. This is not going to work for some, but to me it was interesting. The performances were on the whole great from all, Fassbender is searingly fierce in the title role without being too brutish and Cotillard contrasts with him effectively as a steely and imperious Lady Macbeth. Paddy Considine's Banquo is suitably noble and Harris proved in 'The Borgias' that he could do creepy but also tortured, and he is very moving here as Macduff. It is somewhat sad that Duncan's role in the play is not bigger because Thewlis, while perhaps a touch young, commands the part extremely well.

In conclusion, intriguing and well done but there are better versions of 'Macbeth' around. 7/10

This version of one of the greatest plays in the English language is worth seeing for the visuals alone. We're placed right into a medieval Scottish countryside with its strikingly beautiful landscapes, lochs, and mountains. That austere and foreboding setting underlies just about every scene. The three Weird Sisters (who look superficially like peasant women but convey a genuinely creepy otherness) stand in fog-shrouded fields as they utter their cryptic warnings and prophecies to Macbeth and lurk in the background off to the side of the battles. Hardscrabble peasants and soldiers dot the landscape, sometimes strangely motionless, sometimes lining the roads, but always enhancing an air of strangeness. Life is brutal, violent death is never far away, and the supernatural world is always just offstage.

I won't worry about giving away spoilers here because this is one of Shakespeare's best-known plays, but if you haven't seen it before, then this is maybe not the best place to start. Two reasons: first, a lot of the text has been cut (even though the complete play is not that long) and it will help a lot if you already know the plot and characters. Otherwise, you might be lost not knowing who's doing what and to whom. I got the feeling that the director Justin Kurzel essentially assumes that his viewers will already know the play and are deliberately looking for a different, postmodern take on it. Second, most of the dialog is (appropriately enough) in thick Scottish accents but often almost whispered, as if the characters are speaking only to themselves or someone right beside them. In places it's hard to pick up. But this too adds to the atmosphere, as if the actors are standing outside themselves both watching and taking part.

Michael Fassbender and Marion Cotillard make a first-rate pair of leads. David Thewlis (Duncan) and Elizabeth Debicki (Lady Macduff) are also notable, as are the three witches. The various captains and soldiers with speaking parts are hard to tell from each other, but that's another reason to know the play before going in. One added touch I thought was interesting came very early on where we see the Macbeths burying an infant daughter (who's only referred to obliquely in the play) and then losing a teenage son in battle. If they don't have their own children to live for, it maybe makes it easier to understand why they would go ahead and do what they do. Another effective touch, an interesting director's interpretation, is that Lady Macbeth slides over into madness specifically because of her husband's brutal murder of Macduff's family -- she was willing to push him into assassination as a career move but didn't bargain for what it led to, which was outright destruction even of women and children and a reign of blood. "What's done cannot be undone."

See the full play in a live theater, somewhere, and then see this movie for its distinctive ambience. It's an added-value experience.

William Shakespeare's most famous (and quotable) tragedy has not had a major big-screen adaptation that has stayed faithful to the play in many a year. Justin Kurzel's film attempts to provide a definitive cinematic version of the iconic play with this gritty, war-based work of drama starring Michael Fassbender (Oscar-nominated for "12 Years a Slave, 2013) in the eponymous role and Marion Cotillard, who won the award for her role in Edith Piaf biopic "La Vie en Rose," 2007.

As a quick word of warning: if you've not read any Shakespeare, then I'd advise you not to watch this film. Rife with Shakespearean language told through coarse Scottish accents, this is not a story easy to follow for those unfamiliar with it. Having studied the Scottish play in school, I can bring you up to speed if you're unaware - Macbeth is a Scottish thane (equivalent of a lord) who sees a premonition of witches after winning a battle. The witches' prophecies trigger a spiral which sends Macbeth beyond sanity. And a character-based war drama is, in my opinion, the perfect direction to go in for a Macbeth adaptation. I always thought in school of what a good film Macbeth would be if made with sweeping battle scenes and a rough, gritty take on the tale. This is what Kurzel does, to great success. The first thing to note is the acting. Easily his best role (which is saying something,) Michael Fassbender portrays the flawed deterioration of the eponymous protagonist with gravitas yet often relatable humanity, even as his deeds become more and more ghastly (a scene with stakes is especially hard to watch.) It will be interesting to see how Fassbender's upcoming performance in Danny Boyle's Steve Jobs biopic compares to this. An Oscar nod is almost inevitable; it would be a travesty for him not to gain a nomination for this. Marion Cotillard is not to be over- shadowed in a role which would require a considerable lack of talent to play badly. Luckily the French actress has that talent in spades and at first she brings to the table hardened resolve before the true extent of Macbeth's madness is revealed and her acting changes accordingly with an impeccable change-over.

Also good is the haunting score and stunning Scottish scenery, bleak yet beautiful in a cold, austere way. The supporting turns from David Thewlis as King Duncan, Sean Harris as Macduff and Paddy Considine as Banquo are also all fantastic. In addition the ending is unexpected, but in a good way.

There's little bad to be said about the technique that went into the process of making Macbeth. The only things which detract are the admittedly shallow complaint that the dialogue, and therefore the story, is often hard to understand due to the coarse accents and antiquated language. This does sometimes have the effect of ruining scenes due to being taken out of it trying to understand the speech. Also, the slow motion is used rather poorly. Too much to be used effectively, with the slow motion lingering a little too long mid-battle, but not enough to be part of the visual style like Zack Snyder's 300. However, apart from this Justin Kurzel's Macbeth is a masterfully made film that may not win over those unfamiliar with the source material but will be a true treat for fans of Shakespeare and cinema. 79/100.