Macbeth, the timeless play by William Shakespeare, is retold once more in film, this time in the hands of director Justin Kurzel. The “laws” of cinema establish that such classic pieces get new adaptations every five years or so, inevitably subjecting these rehashes to the “make-or-break” category.
The film opens in a battlefield and viewers are immediately sucked into the murky-as-hell world of the eponymous protagonist, Macbeth (Michael Fassbender) — who we first see sporting mudded war-paint on his face. From the heavy use of stylized slow motion, the movie clearly establishes that this is not just a war film. If you haven’t had the chance to be acquainted with Macbeth, be warned that, like most of Shakespeare’s plays, this is a tale of serious tragedy and not for general audiences seeking the medieval entertainment exemplified in Gladiator or 300. It is much more sublime; an emotionally exhausting, slow-paced war drama more akin to a painting in a way that it demands a fair amount of attention for one to appreciate its true worth.
Following the pitched battle, Macbeth and his confidante Banquo (Sean Harris) encounter a trio of witches and a little girl speaking of a prophecy about the future King of Scotland. From hereon, the plot revolves on Macbeth’s attempt to fulfill that prophecy and its aftermath, as his political ambition consumes him like an incorruptible poison obliterating his sanity.
[column size=one_third position=first ]
Macbeth
2015 / UK / Fantasy, Drama
Dir. Justin Kurzel
Act. Michael Fassbender, Marion Cotillard, Sean Harris…
[/column]
In fact, about get viagra no prescription 70% of all potency issues have organic causes. It does cialis professional india not save your money only but also show the smartness. You can look viagra without prescription free out for kamagra online. It turns out that too many unica-web.com order levitra simple carbohydrates mess up our cells. [column size=two_third position=last ]
The strength of Macbeth lies in its sense-appealing cinematography and the performance of its lead actor (Hail Macbeth! Hail Fassbender!). His impeccable and primeval performance of a tyrannical maniac descending to full-blown lunacy and desperation surpasses that of his ruthless slave master in 12 Years a Slave and the metal-bending antihero Magneto in X-Men. Paired with an emotionally-complex Lady Macbeth (Marion Cotillard), we are presented with a twisted and treacherous couple hell-bent on committing themselves to a circle of violence for power.
Noteworthy of the film is how it presents its source material with a breath of fresh air without changing nor compromising story integrity. An example would be the film’s take on the “Great birnam wood comes to Dunsinane Hill,” which pays well in bringing out tones of beautiful orange peppered with flecks of smoldering ashes in the film’s final fiery battle. These little details not only complement but elevate Macduff’s line to Macbeth, ‘Turn Hell-Hound turn’. (Also, I just have to mention that the scene involving the burning of a woman and her children gave me serious flashbacks of Shireen Baratheon’s fate in HBO’s Game of Thrones—yep, somebody hasn’t moved on ‘til now.)
[/column]
What Macbeth lacks in plot complexity and dimension, the film more than makes for with its use of relentlessly dark and haunting visuals of lust, madness, and oblivion. If the film has sinned on anything, it would be that it fell in love too much with its cinematography—which, though beautiful, can feel too contrived at times—and its pipe-heavy musical scoring that may give viewers a hard time grasping the deliveries in Scottish accents. The direction to use a lot of mumbling and whispery tones may just send some curled eyebrows to Shakespeare’s prose. Cotillard’s muttering her ‘Out, damned spot!’ soliloquy could’ve potentially be delivered better. (I have to thank the local distributor in the Philippines for adding subtitles, for I would have barely made out of words from the seemingly monotonous lines.)
Nevertheless, it is disappointing too see how the film is being treated: the lack of promotion, meager box office success, and a snub at the Oscars. What a shame. This film, though set in a medieval times, still relates to the present with its nihilistic content, emphasizing the evil of human nature. If you are a fan of the source material or of the great playwright, no man of woman born should prevent you from watching the film. Else, if you’re by any means nowhere near a thespian or a literary purist, maybe the best response is to wait for tomorrow, and tomorrow, and tomorrow.
https://www.youtube.com/watch?v=ieFaaCYztDU
