by Foster Harlfinger, Contributing Writer
Joel Coen’s The Tragedy of Macbeth is an absolutely fascinating adaptation. Rather than craft a large-scale epic with grand, sweeping cinematography and intricate sets, Coen and his crew have single-handedly created a new style for filming Shakespeare. This film blurs the line between cinema and theater, opting for minimalist sets shot entirely on an interior soundstage, which evoke images of German Expressionist films from the 1920s. The film, shot entirely in black and white, is gorgeous — you’ll want to print every other frame and hang it on your wall. Bruno Delbonnel is one of the best cinematographers around, and his work on The Tragedy (as the crew has taken to calling the film) proves this fact.
The performances are uniformly excellent. Denzel Washington is Denzel Washington — he’s great. Washington offers an older, world-weary portrayal of Macbeth in contrast to the younger, power-hungry interpretations of this character to which we have grown accustomed, and his delivery of the Shakespearean dialogue is seamless. Frances McDormand absolutely murders the role of Lady Macbeth. I am tempted to say this is my favorite performance I have seen from her, though Fargo and Three Billboards Outside Ebbing, Missouri (among many others) are certainly in the conversation. Beyond our two leads, the standout is unquestionably, unequivocally Kathryn Hunter, who owns every one of her scenes in the film. Her delightfully grotesque and other-worldly portrayal of the witches sets a new gold standard for these characters as far as I am concerned, and I will single-handedly launch an Oscar campaign for this magnificent woman if need be. Alex Hassell also gives a standout performance in The Tragedy, delivering complex Shakespearean dialogue with ease and wit. Brendan Gleeson, Harry Melling, Corey Hawkins, Moses Ingram, Bertie Carvel, Stephen Root, and Ralph Ineson (an A24 staple) round out this excellent cast.
The minimalist approach to the sets allows the dialogue to shine. I entered the film expecting a more Coen-ized adaptation of the Scottish Play, but the film remains Shakespeare through and through. I doubt most audience members would have any clue that Coen was involved if they hadn’t already been told. If you describe yourself as “not a Shakespeare person,” I doubt The Tragedy will sway you. However, there is enough to appreciate in this film that you will enjoy yourself regardless of whether or not you appreciate the dialogue. A24 snobs (like myself) can appreciate the artsy cinematography and the awesome, atmospheric score from Carter Burwell, while theater purists can appreciate the engaging performances from this mix of top-tier veteran and up-and-coming actors. The Tragedy also impressed me with its ability to keep a fairly fast pace — not something you’ll hear about most Shakespeare adaptations!
I predict that a certain sect of film fans will praise this movie so highly for the next couple months that general film audiences will be underwhelmed. For this reason, I don’t want to set expectations too high. The sets are highly minimal, the dialogue is an obstacle for many people (including myself at certain points in the film), and The Tragedy’s vibe will not be for everyone. The film does not aim to please every audience member, and I would definitely not consider this to be Oscar bait. However, Coen and his crew have made the first truly experimental Shakespeare adaptation in a long time. I hope that Coen’s Shakespearean vision can inspire more filmmakers to tackle other works from the Bard with as much creativity, experimentation, and visual flair as The Tragedy of Macbeth.
Grade: A
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