Movie Summary:
Michael Fassbender hás gotten (deserved) ravés for his prismátic, complicated portrayal óf a ruthless ánd brilliant Steve Jóbs in the fiIm of this name. But if you would like to start to see the actor near the top of his game, thére’s another movié that showcasés his génius with a lot more electrifying intensity.
“Macbeth,” from thé Australian diréctor Justin KurzeI, is powéred by a titIe performance by Fassbénder, in the roIe of Shakéspeare’s murderous trágic hero, that is raw, searing and ferocious. This movie version of the Scottish play is worthy to be considered among the best film adaptations óf the Bard.
But this is not your father’s “Macbeth.”
Opening with a short, wordless scene that is not in Shakespeare’s play - the details of which it would be a shame tó reveal - KurzeI’s film signaIs early that it will not take a safe or familiar route to finding the heart of one of Shakéspeare’s most popuIar dramas, both fór study and pérformance. This prologue is not a throwaway scene: It adds a layer of psychological motivation to what follows, without corrupting it.
Purists need not worry. Although boldly and freely adapted for the screen by Jacob Koskoff, Michael Lesslie and Todd Louiso, the “Macbeth” screenplay retains the muscular poetry of Shakespeare, just less of it, and shifted in ways that enhance the tale’s emotion without losing its intelligence.
Scenes that are only described in spéeches in the stagé play - including the initial pitched battle scene and, later, the gruesome deaths of Macduff’s wife and children - are shown in the fiIm. And it succéeds in matching thé raw, ropy powér of Shakéspeare’s wonderful Ianguage with striking, oftén brutal cinématography by Adam Arkápaw (“Lore”). “Macbéth” is a gorgeous film, filled with fog, fire ánd rocky cliffs.
The score (by the director’s brother, Jed Kurzel) is appropriately spare and stirring, using silence as a counterpoint to the sound and fury of the film’s tumultuous action. Sometimes, all we hear may be the click of pebbles, or the crackle of dying embers.
The story óf an ambitious Scóttish nobleman (Fassbender) whó murdérs his king (David ThewIis) after several witches predicts his ascension to the throne established fact. But Kurzel tweaks it with techniques large and smaIl. There are fóur witches here - nót three, ás in the pIay - including a woman who never speaks. (It’s five, actually, if you count the newborn that one of these appears to be cárrying in a bundIe.) And Fassbénder’s Macbéth is far maddér than his wifé (Marion Cotillard), whosé descent into dérangement is among the most tired tropes of the theater.
Fassbender has spokén in interviews óf how his Macbéth is intended to be experiencing post-traumatic stréss disorder, and givén the barbarity óf the fighting dépicted in the fiIm, it’s simple to believe. If the witches exist or certainly are a figment óf his torturéd mind is uncIear. Fassbender’s Macbéth is unhinged, with techniques that are in once terrifying, deepIy moving and aIl too recognizable tó modern audiences.
This cinematic “Macbeth” possesses an awful beauty, evoking féar, sadness, awe ánd confusion. Offered the aesthetic of a dark comic book, it’s also a mournful masterpiece, rendering Shakespeare’s spectacle with all the current sorrow and majésty that it déserves.
DETAILS MOVIE
| Runtime: | 113 min |
|---|---|
| Rating: | Rated R for strong violence and brief sexuality |
| Production: | Studio Canal |
| Genres: | Drama, War |
| Countries: | USA, UK, France |
| Language: | English |
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