2 minute read
“The Tragedy of Macbeth”
ALISON COHEN ROSA
JOEL COEN’S ADAPTATION OF “THE
Tragedy of Macbeth” captures a larger-thanlife theatrically that’s rarely seen onscreen. The sets are huge, and the camera moves freely around them, making the audience feel as if they are in a vast amphitheater. Bruno Delbonnel’s stunning black-and-white cinematography foretells the darkness of this familiar Shakespearean tale. However, what unites it all are the brilliant performances from this ensemble of actors. Although from different backgrounds and techniques— British, American, theater-trained, or cinema icons—together they are magnificent.
Denzel Washington brings a world weariness to his Macbeth, a man running out of time and defeated by age. The choice to cast older actors in these roles changes their essential dynamic: Instead of cunning ambition, this Macbeth and his wife portray a desperate last act. Washington’s Thane seems to be resigned to defeat from the beginning. He almost doesn’t believe the glory of the witches’ prophecy but clings to their warnings of danger, letting it drive him to destruction.
Washington is physically committed, walking across the huge sets as if his legs can barely carry him. As Macbeth starts to go mad, Washington recoils inside, his body straining to hold in his guilt. His interpretation may elicit sympathy that’s not usually associated with this character.
Shakespeare has always been funny, but Lady Macbeth is rarely a performance associated with laughs. Yet the legendary Frances McDormand offers pleasure and a sense of play as the tragedies pile up. It’s a shrewd performance that becomes heartbreaking as the lady of the manor loses her sense of reality. Her “Out, damned spot” speech is a whispered, spare depiction of madness that sends chills down your spine.
The tragedy of the Macduffs is played to devastating effect, despite the two actors appearing in the story separately—and ever so briefly. Moses Ingram as Lady Macduff makes a huge impact in a single, heartpiercing scene. Prowling around like a lioness in a cage, Ingram bristles as a mother trying to protect her child as her last act. Corey Hawkins offers sharp intensity and paternal sorrow as Macduff, reeling from the news of his family’s fate. His reaction complements the guilt in Washington’s Macbeth, making theirs an emotional duet.
Coen’s conception of Ross, a character seldom thought of in most versions of “Macbeth,” is something to behold. Here, he becomes both a bearer of news and a commentator on it. Wearing Mary Zophres’ slim costumes immaculately, Alex Hassell centers his performance on movement. Matching him is the extraordinary Kathryn Hunter as not one of the prophetic witches, but all three. Between her croaking voice and jutting knees and elbows, you may feel the performance’s impact in your gut. Hassell glides while Hunter contorts; both are expert theater actors bringing a startling visual edge to their portrayals. These are demonstrations of how to use one’s whole body to tell a story.
Rounding out the cast are Brendan Gleeson as Duncan, Harry Melling as Malcolm, and a bushy-browed Bertie Carvel as Banquo, all bringing their own readings to the Bard’s tragedy. That’s the inherent joy of Coen’s adaptation: watching all these superb actors together, doing what they do best.
—MURTADA ELFADL
MAIN CAST:Bertie Carvel, Brendan Gleeson, Alex Hassell, Corey Hawkins, Kathryn Hunter, Moses Ingram, Frances McDormand, Harry Melling, Denzel Washington CASTING BY:Ellen Chenoweth DIRECTED BY: Joel Coen WRITTEN BY: Joel Coen (based on William Shakespeare’s play) DISTRIBUTED BY: A24/Apple TV+
