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Fassbender broods mightily in Kurzel’s telling of the Shakespearean tragedy Review
William Shakespeare’s Scottish play gets a highly stylised, moody and occasionally mystifying update, courtesy of Justin Kurzel, the Australian director responsible for the haunting Snowtown.
For the poor souls who haven’t cracked Macbeth since high school (or those current students looking for an easy study guide), Kurzel’s adaptation isn’t going to do you any favours — the whispered line readings make the Bard’s verses all but incomprehensible and, at times, numbingly dull.
But for Shakespeare devotees who delight in debating the merits and flaws of previous attempts from the likes of Orson Welles and Roman Polanski, Kurzel’s entry, out now in the UAE, is an interesting one.
This version begins with an unsettling sight: Macbeth (Michael Fassbender) and his wife, Lady Macbeth (Marion Cotillard) witnessing the burial of their dead child atop a gusty, gray hill in the desolate Scottish Highlands. The mourning transitions into a stunningly violent and mystical battle sequence, clouded by fog and mist and slowed in parts with a video game-like vulgarity, where Macbeth hears the witches’ prophecy that he will be King.
It is in this war-weary and grief-stricken state that Lady Macbeth convinces her husband to murder King Duncan (David Thewlis). Ambition and greed fill their voids, and Macbeth A still from Justin Kurzel’s film adaptation of Michael Fassbender, left, as Macbeth, and Marion Cotillard as Lady Macbeth becomes the executor of their future. Malcolm (Jack Reynor), King Duncan’s heir, witnesses the murder and flees, adding an immediate tension to everything that happens after.
Once Macbeth assumes the throne, he begins his slow descent into madness. Fassbender, who has mastered the tricky rhythms of Quentin Tarantino in Inglorious Basterds and Aaron Sorkin in Steve Jobs, delivers Shakespeare as confidently and effectively (if too quietly) — coming alive as he loses his mind. No one plays agony quite like Fassbender. The banquet scene where Macbeth sees the ghost of Banquo (Paddy Considine) is a particular highlight, though less terrifying than Polanski’s rendering.
Macbeth’s ever heightening paranoia provides a much needed engine for the film, which, despite the visual interest, comparatively brisk pacing and mesmeric battles, is weakened by those largely whispered and mumbled lines.
Kurzel’s Macbeth is also stripped of unnecessary
Instead of affecting a Scottish lilt, Cotillard retains her native French accent, which proves effective in making the inimitable Lady Macbeth seem even more mysterious. She’s even given another dramatic scene in which she witnesses the execution of Lady Macduff (Elizabeth Debicki, on screen far too briefly) and her children.
Indeed, death looms over everything here, and weighs increasingly heavily on this childless couple. This Macbeth brings war, post-traumatic stress disorder and grief to the fore in a more visceral way than others have been able to show, and in this way Kurzel has put his stamp on the canon of Macbeth film adaptations.
Bringing Shakespeare to the big screen can be a thankless task. Kurzel has a fearless eye and cinematic flair and his Macbeth is a bold, beguiling experiment that is perfectly fit for the now.
—AP
Bringing Shakespeare to the big screen can be a thankless task, but Kurzel has a fearless eye and cinematic flair.