Tag Archives: shakespeare

Review – Macbeth (15) [2015]

Macbeth - title banner

Star Rating: 4/5

Director:

Cast:

Music Composer:

To look back is a double-edged sword. To look back upon one’s achievements, mistakes and losses in order to grow as a person and to build a better future is important and valuable. Nevertheless, to look back longingly fetters an individual. Justin Kurzel’s take on Macbeth illustrates how looking back longingly can manifest itself in a variety of negative ways on people and impair them.

Macbeth (Michael Fassbender), bloody and filthy, in the heart of a battle.

Macbeth (Michael Fassbender), bloody and filthy, in the heart of a (cloudy) battle in the Scottish Highlands.

Kurzel’s Macbeth is based on the play, written by William Shakespeare. Macbeth, Thane of Cawdor (Michael Fassbender), receives a prophecy from three witches. They tell him that one day he will become King of Scotland and that no man of woman born will be able to kill him… although, they do warn him to be wary of Macduff (Sean Harris). Consumed by ambition and urged on by his manipulative wife, Lady Macbeth (Marion Cotillard), Macbeth acts to fulfil the prophecy. But at what cost?

Macbeth is a compelling and gripping film. Central to this are the performances. David Thewlis as Duncan is decent, and Sean Harris as Macduff is very good as usual. Yet, it is the two main performers that stand out. Both Michael Fassbender and Marion Cotillard are riveting. One may not always understand what they say since the movie is in Shakespearean English. But due to the strength and rawness of their performances, viewers can feel the emotion behind their words and, therefore, understand their actions.

It helps that audiences can empathise with Macbeth and Lady Macbeth straight from the off. Macbeth begins with Macbeth and Lady Macbeth suffering a tragic loss, and this loss never leaves them. No matter what they achieve, they are always looking back upon this loss and it devours them.

That this scene is not in the original script that Shakespeare wrote should not be of concern, even to play purists. In the play, this tragedy for Macbeth and Lady Macbeth is mentioned, so it is part of the story. But by showing the event and making it the opening scene of the film, Kurzel gives the event a gravitas that is lacking in the original play.

Macbeth greeting Duncan (David Thewlis) upon the latter's arrival at Cordor.

Macbeth greeting Duncan (David Thewlis) upon the latter’s arrival at Cawdor.

This alteration from the source material is not the only instance in which Kurzel plays fast and loose with Shakespeare’s version of the story. Nonetheless, for play purists to put too much stress on the alterations would be to miss what Kurzel keeps and enhances from the original play. What’s more, unlike other adaptations which have given Macbeth a more modern slant (for example, the 2013 London theatre production starring James McAvoy as the titular character), Kurzel has made his 2015 film adaptation more medieval. Consequently, the movie is bloody, grisly and muddy; all of which is fitting for the story.

In addition, with the Scottish Highlands for the main setting, Kurzel has increased the authenticity of the play. The landscapes are apt and wondrous (perhaps even worth fighting for). Yet, the weather is grim, windy and rainy. These conditions breed miserable, nasty people who are devoid of humour. Indeed, the entire movie is devoid of humour and somehow that feels right.

Indeed, Kurzel gets much right. However, his version of Macbeth is not without its flaws: the movie should have been longer than 113-minutes, and some key scenes are missing; the first twenty minutes are heavily edited, to point that one could easily believe that Kurzel has ADD; the battles are underwhelming, difficult to see, and rely too much on (300-style) slow-motion followed by super-fast, killer moves; and the final scene is jarringly out of sync with medieval times.

Lady Macbeth (Marion Cotillard) trying to soothe her now kingly husband at Bamburgh Castle.

Lady Macbeth (Marion Cotillard) trying to soothe her now kingly husband at Bamburgh Castle.

Nevertheless, even in the scenes where Kurzel does not get everything right, one can still be overcome by the music. The score has been written by Justin’s brother, Jed, and it resonates deeply with audiences. The music enables one to feel Macbeth’s and Lady Macbeth’s triumphs. Yet, in the same beat, it also enables one to feel as if the couple are looking back longingly at the loss that they cannot get over.

Over-all, Macbeth is a really impressive film. The movie is not without its problems as it should have been longer, while the first twenty minutes and the last scenes should have been handled better. All the same, there is much to admire about Kurzel’s Macbeth from its gritty realism of Scotland in the late-medieval period, to the alterations that Kurzel has made from the original source material, to the astonishing performances of Michael Fassbender and Marion Cotillard.

Undoubtedly, Fassbender and Cotillard make up the best elements of the film. They depict the strength and ambition of the two characters, as well as their tragic natures. They do this by presenting what can happen to us if we look back longingly for something we’ve lost. Fassbender and Cotillard show us that this loss will eat away at us and undermine everything we achieve, even if we achieve all that we desire and more.

PG’s Tips

Advertisements

Review – Coriolanus (15) [2012]

Star Rating: 4/5

<<guest review by KJF>>

William Shakespeare and the filmed medium have an uneasy relationship. Over the years many film-makers have attempted to bring his plays to the silver screen but not all have been successful, with some versions feeling staid and flat. For all the glories of Laurence Olivier’s trilogy of adaptations, in more recent years there have been Kenneth Branagh’s Love Labour’s Lost (2000) and As You like it (2006), which were both poorly received. Ralph’s Fiennes’ Coriolanus bucks the trend, providing an inventive, violent and gripping take on one of the Bard’s later tragedies.

Coriolanus, blood-soaked, in the heat of battle.

The original play is set in the ancient world, during one of the Roman Republic’s endless wars against a neighbouring tribe. Caius Martius (Ralph Fiennes – Schindler’s List, Harry Potter VII(ii), Wrath of the Titans), is Rome’s greatest general. Having just scored a bloody victory against the rebellious Volscians, he returns to his home city and is given the honorific name ‘Coriolanus’, in recognition of his battle prowess at the Volscian city of Corioles. At Rome the populace are starving due to a grain shortage. He tends to hold the people in contempt, and when his election to the consulship collapses, and he gets exiled, the disgruntled general defects to the Volcians and plots his revenge.

Here the story is updated to a modern Balkan setting which is very effective, recalling the wars in the 1990s following the collapse of Yugoslavia. The battles between Romans and Volscians are fought on bomb blasted streets, strewn with the wrecks of cars and buildings with terrified civilians being caught in the crossfire-scenes so reminiscent of modern urban warfare. The bleak, withered, Balkan landscape is a particularly effective back-drop to the bleakness of Coriolanus’ fate in the latter part of the film.

Fiennes in directing mode with Gerard Butler, playing Tullus Aufidius

All the events of the story are told through the prism of rolling news footage, with newscasters and pundits (naturally) spinning everything. (Even Jon Snow gets a look in!) When the grain protests in Rome are depicted, this allows for some fortuitous contemporary resonance as we cannot but think of the Arab Uprisings, particularly all the protesters massing on Tahrir Square. That all the political debating on show is done in the glare of television cameras instantly broadcasting into countless households feels particularly right. In Republican Rome, many political debates were held in public in the Forum.

Fiennes is following in the grand tradition of both Olivier and Branagh as both actor-director, and this is very much his film. The camera likes to linger on his battle-scarred, shaven, bullet-shaped head, which in the heat of battle gets spattered in blood. One needs no convincing that this is a serious warrior. When faced with dealing the people of Rome he so despises, his icy contempt for them is tangible. Fiennes is supported by a fine cast. Vanessa Redgrave (Mary, Queen of Scots, Letters to Juliet, Song For Marion) as Volumnia, Coriolanus’ formidable mother, is truly magnificent. She is a civilian but her martial bearing and control she exudes over her son is emphasised by the military dress she mostly wears. The seemingly ubiquitous Jessica Chastain (The Help, Take Shelter, Zero Dark Thirty) acquits herself admirably as the other woman in Coriolanus’ life, his doting wife, Virgilia. Gerard Butler (300, P.S. I Love You, London Has Fallen) plays a brooding Tullus Aufidius, the leader of the Volscians and nemesis of Coriolanus. There is, perhaps inescapably a touch of Leonidas about his performance but he very much proves the match and the mirror to the Roman general. The Roman politicos here are a conniving bunch, all decked out in slick, expensive suits and Brian Cox (Troy, Rise of the Planet of the Apes, Dog Fight) brings much style to his portrayal of the loquacious, fawning senator Menenius Agrippa, supporter of Coriolanus’ family.

Virgilia (Jessica Chastain) pleading with Coriolanus not to go back to war.

The faults with the film reflect back to the play itself. Coriolanus is the most unsympathetic of Shakespearean ‘heroes.’ He is no Hamlet or King Lear to draw much pathos. We rarely see behind his front of arrogance and hauteur and his loathing of people power, to what makes him a human being. The play itself can be heavy-going at points, punctuated with very long-winded speeches. Thankfully here, Fiennes in collaboration with his screenwriter, John Logan, has done some merciful pruning, to make everything more palatable.

Thus, Fiennes should be commended for bringing a less popular and less well-known Shakespearean play to a much wider audience. Indeed the vigour and imagination on display makes the film a rewarding and thought-provoking experience.

KJF