The Tragedy of Macbeth

First, Denzel Washington is very good. But all that restraint needs to be let loose at some point, and it isn't. The black and white staging and lighting is more like a throwback to German Expressionism than anything actually new. Frankly the direction, staging, and cinematography detracted from the excellent acting, and the whole thing felt very heavy handed. I wanted it to be great, I really enjoy the play, I enjoy Coen's other movies, but it just did not quite work.

In the trailers, the most we get of the weird sisters is a glimpse of some shadowed silhouettes, and Kathryn Hunter sitting on a high beam chanting the famous "pricking of my thumbs" line. But from the FIRST scene of the film, you recognize the power she wields as an actor. Not only does she play all 3 sisters, and switch between them with Gollum-like fluidity, but her physicality contorts with such deliberate eeriness that for the first time in a long time, I was reminded of how terrifying the character(s) can be. Also, her vocal and rhythmic control of the witches' incantations- perhaps some of the wackiest lines Shakespeare ever penned- is masterful, elevating them to an effect that might haunt the Bard himself. A rare and memorable performance that left me with a new appreciation for the odd, yet profound presence of the supernatural in this play.

Denzel and Frances are masters in their own right. While their performances as the Macbeths may not be as striking as Hunter's, they nonetheless make for a very good pair to carry this film's weight, and each bring a grounded freshness to their lines. One thing I really appreciate was that they didn't "rise themselves up" to the weight of these characters, but rather brought the characters down to them. Instead of expanding their presence to fill the shoes of giants, they let the words filter through them with the coolness of their own natural presence. I could see and hear Denzel and Frances adopt the text in their own cadence/mannerisms, and (to quote another Shakespeare play) "acquire and beget a temperance that may give it smoothness."

Finally, Joel's vision really makes this adaptation stand out. Its aesthetic is a clever blend of film and theatre, employing the intimacy of one with the uncanny semblance of the other. Not only does this effect serve the presence of ghosts and witches well, but it gives the whole piece an almost dream-like quality that draws you in like the air-drawn dagger. But beyond that, Joel's understanding of the text and concept as a whole is so sharp that his own changes to certain scenes/characters offer a savvy new take on a 400 year old tale.

Joel Coen brings a low key Macbeth. It is shot in black and white with minimum staging. There is some clever use of special effects and CGI.

To my mind it bears comparison with Orson Welles inexpensive version.

This is not a low budget version and it boasts heavyweights both behind and in front of the camera. Joel Coen, his wife Frances McDormand and Denzel Washington have 10 Oscars between them.

Denzel Washington as Macbeth starts out as low key before being consumed by his thirst for power as he is approached by the witches. (A contorted performance by Kathryn Hunter.)

To becomes the King of Scotland, he overthrows King Duncan (Brendan Gleeson) with the full support of the scheming Lady Macbeth (Frances McDormand) who likes the idea of becoming Queen.

Macbeth's corruption and paranoia invites revenge from Duncan's heir and Macduff. There is civil war in Scotland.

The text is dense but the film remains accessible. Coen has kept the play stripped down and stagebound.

Lady Macbeth who starts as clever and crafty becomes slowly mad to match her crazed husband.

Hunter shines as the witches. There are good performances from Bertie Carvel as Banquo and Alex Hassell as Ross.

There are a range of accents on offer in the movie, but very few Scottish ones.

The premises remains what can expect from a new version of Macbeth. Sure, for me, to see Denzel Washington, Frances McDormand or Brendan Gleeson in the roles who I know. To discover the vision of Joel Coen about the Shakespeare's play . To expect , in fact, nothing , because what can be said was , in wise, brilliant and precise manner said by previous adaptations ?

The result - impressed by cinematography , having new proof about the admirable artistic skills of Denzel Washington, the precise portrait of lady Macbeth created by Frances McDormant, beautiful Banquo of Bertie Carvel ( maybe, too much make up )

Brilliant - off course- for the flavors of old BBC adaptations, for the illusion of animation in few scenes, for black and white clash , for a Macbeth, Seyton, Angus and Macduff in dark skin and the thought to an Othello acted by an Albino actor.

Admirable for cinematographic solutions and for the certitude than Denzel Washington deserves his Macbeth with high measure. Because he gives just the great force to his role.

The music is inspired, the solutions - the case of witches - admirable animated by Kathryne Hunter is good example are the source of appreciation, in same measure.

Short, I admitt - it is a film who I love. For great use of cinematography, for solutions for details, for poetry of locations, for the wise reflection of each crumb of tension.

I have to say Im beginning having trouble distinguishing between these artsy films the last couple of years because so many use the same portrayal and cinematography. Bleak, minimalistic scenes, often used black/white portrayals, filled with "symbolism" and "methaphores" that are either so plain and on the nose its sad or only understood by the creator.

Also the actors all acting with their emotions on 11, with it all being depressing seems to draw praises and Oscars like the best of baits. Never mind the dreary, long and uninspired monologues (or dialogues if "lucky").

Doesnt anyone have any original ideas anymore? Cant you portray Macbeth in a new, original light and add something new to it, shape it into a form(format we havent seen yet, make it appealing to newer and/or younger audiences. Make it entertaining, informative, moral and multilayered.

Always making these dark, minimalistic and overboard in every aspects productions has gotten beyond boring, bland and a work to get through.

Cinema should be inviting, exploring, adventerous, imaginative, new... This is NOT that, not by a long shot, it is a deja-vu of numerous productions past.