Macbeth

Director: Justin Kurzel

Cast: Michael Fassbender, Marion Cotillard, Paddy Considine, David Thewlis, Sean Harris

Running Time: 112 Mins

Country: UK

When one thinks about drama, the first and most defining name to appear in your head is William Shakespeare. Despite numerous adaptations of his plays, both in theatre and film, the themes are still very much alive, especially when modernised in an attempt to reach a teenage audience. Is it then possible to fill a cinema screen when an adaptation sticks so close to the original dialogue and makes its setting as far from modernity as possible?

Macbeth (2015), directed by Justin Kurzel, is an ambitious attempt to answer all these questions with a defining ‘yes’, and manages to pull it off spectacularly well. His path is much different from the one taken by Julie Taymor in her famous adaptation, Titus (1999), which played around with timeframes, settings and breaking the fourth wall. In contrast, Kurzel sets his film amongst the wilderness of a non-descript land, with actors speaking Shakespearian dialogue in dated costumes. Macbeth is shot as if it was an original piece narrated intimately by characters – a modern-day filmic equivalent to the theatre.

Image: Studiocanal

Macbeth (Michael Fassbender) starts off as an accomplished warrior, respected and loved in his community, and an influential leader of the people. Marion Cotillard’s Lady Macbeth is also well-adjusted to the small village they are ruling; being both religious and dedicated to local causes. However, with the king’s arrival and the witches’ prophecy, they are seduced away from their happy life by ambition, as we follow their rise to success and inevitable painful fall. The couple are portrayed surprisingly sympathetically, something I wasn’t expecting to see after previous adaptations; both characters are painted humane, in their dreams and their disillusionment. They are sexual creatures, and it is interesting to see the power play in their relationship – both Macbeth and Lady play dirty tricks on one another.

Cotillard’s character is portrayed as a strong woman, able to command people and influence Macbeth through means other than sex, which used to be notorious in the portrayal of influential women before. On the other hand, Fassbender’s character is initially portrayed as lost and conflicted – a very strong exterior but fragile behind closed doors. He taps into the madness of the king and the slow decay of his mind as he gradually becomes a tyrant. The way he captures the slight flickers of emotions, the despair and fear as he falls from grace, is why this actor can be recognised as one of the greatest in contemporary cinema.

The film itself is a marvel of editing and cinematography, showcasing all the wonderful things current technology enables directors to do

The film itself is a marvel of editing and cinematography, showcasing all the wonderful things current technology enables directors to do. The breath-taking sceneries shot in panoramas, the stereoscopic effects, and the fast and decisive cutting by Chris Dickens  means you’re unable to tear your eyes away from the screen. Additionally, the score, composed by Jed Kurzel, allows the viewer to sink into a long forgotten world of myths and legends.

Image: Studiocanal

However, there are a few issues that one must note after viewing Macbeth. Many of the events are clustered together, making it sometimes confusing to follow if you’re familiar with the play. Some moments are added, such as the mysterious boy following Macbeth in his visions, making some of the symbolism in particular sequences challenging to decipher accurately. Another thing to note is that the characters speak authentic Shakespearian dialogue which can sometimes be tough to follow.

If you like experimental cinema that can unite drama and film purists together, this movie is ideal for you. Even with its minor faults, Macbeth is enjoyable, the performances are marvellous and it is a refreshing take on the classic tale of dreams that should have been nothing more than fantasies.