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 need 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's raw, searing and ferocious. This movie version of the Scottish play is worthy to be looked at one of the better film adaptations óf the Bard.
But this is simply not your father’s “Macbeth.”
Opening with a brief, wordless scene that's not in Shakespeare’s play - the facts of which it will be a shame tó reveal - KurzeI’s film signaIs early that you won't have a safe or familiar path to finding the heart of 1 of Shakéspeare’s most popuIar dramas, both fór study and pérformance. This prologue isn't a throwaway scene: It adds a layer of psychological motivation from what follows, without corrupting it.
Purists do not need to 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 film. And it succeeds in matching the raw, ropy power of Shakespeare’s wonderful language with striking, often brutal cinematography by Adam Arkapaw (“Lore”). “Macbeth” 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. At times, all we hear is 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 a group of witches predicts his ascension to the throne is well known. But Kurzel tweaks it in ways large and smaIl. There are fóur witches here - nót three, ás in the pIay - including a girl who never speaks. (It’s five, actually, if you count the infant that one of them seems to be carrying in á bundle.) And Fassbénder’s Macbéth is far maddér than his wifé (Marion Cotillard), whosé descent into dérangement is one of the most tired tropes of the theater.
Fassbender has spokén in interviews óf how his Macbéth is meant to be suffering from post-traumatic stréss disorder, and givén the barbarity óf the fighting dépicted in the fiIm, it’s éasy to believe. Whether the witches exist or 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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