Macbeth (2015)

Shakespeare’s classic Scottish play is arguably one of his finest works – a mix of deception, violence and twisted love set against the quaint backdrop of the Highlands so visceral and powerful that its name has been buried underneath superstition throughout its lifecycle. However, not since Roman Polanski’s take in 1971 has there been a major film adaptation of the story, largely cordoning the play off to taped showings of theatrical performances. Thankfully, Justin Kurzel has renewed Shakespeare's tale on film and created arguably the quintessential version of Macbeth, truly capturing the essence and darkness of the play. The most immediately striking quality of the film is the utterly gorgeous cinematography. Adam Arkapaw has excelled his role as director of photography here, rivalling even the veterans of the field with his beautiful, artistic framing and portrayal of the Scottish Highlands. Kurzel’s direction allows the environment to breathe and feel almost like a character in of itself, vast and unforgiving just as Shakespeare intended yet truly impossible to replicate on stage. The depth and sheer scope of the Highlands allows for a sense of isolation to permeate throughout the film – fitting, as this allows for Macbeth’s downfall to become the focus and remove any exterior influences. The final act is truly breath-taking as the screen is awash with fierce oranges and thick smoke, highlighting the destruction and intensity of the final battle between Macbeth and Macduff. It is certainly one of the most eye-catching releases of 2015 (possibly only rivalled by Sicario), and manages to extract plenty of tension and intrigue from the barren landscapes. Kurzel chooses to execute this adaptation in an incredibly straight-laced fashion, choosing to not exaggerate any of the more supernatural elements of the play – the witches aren’t seen cackling around a cauldron, nor does Banquo’s ghost look like some sort of mystical entity or hellish demon. The subtle direction allows the viewer to interpret these themes on their own – is Banquo really a ghost, or just a lucid hallucination? Certain scenes use rapid cuts and editing to emphasise Macbeth’s descent into madness, and can give the film a dreamlike (or rather nightmarish) feel, as if you never know what’s truly real or a product of insanity. This was extraordinarily refreshing to see in a Shakespeare adaption, where the viewer is usually guided through the story and their prior knowledge of the play is presumed. Whilst it’s best to see Macbeth having read the play or at least have knowledge of the full story, Kurzel isn’t afraid to challenge that knowledge and execute it in a different manner that still feels natural to the tone of the play. Macbeth has absolutely no gimmicks – this is a faithful, old-fashioned approach yet benefits from modern technology and talent. With Shakespeare adaptations, the story itself should be clear-cut and a positive right off the bat. Instead, the quality of the film comes down to how it is interpreted and how it is performed, and thankfully this version of Macbeth is performed exceptionally. Michael Fassbender is a natural in the title part, performing with a fiery enthusiasm and physical intensity that makes him truly captivating to watch. Bringing new life to Macbeth’s downfall, it is a real shame that he wasn’t recognised for this role (largely overshadowed by his also admittedly impressive turn as Steve Jobs) as it’s definitely one of his best in his entire career. It never feels too overstated to be mistaken for a theatrical performance, but works perfectly within the confines of the camera. Marion Cotillard is equally impressive as Lady Macbeth, seen by many as the true central character of the play. Her turn is truly tragic and emotionally powerful – like Fassbender, this is merely another impressive performance on top of a list of past impressive performances. Her iconic monologue on the verge of her death is one of the most captivating and engaging scenes in the entire film, made only more powerful through Cotillard’s elegant delivery of the dialogue. Speaking of which, the film thankfully chooses to use the authentic original dialogue, continuing to make this the definitive adaptation of the play. However, Kurzel recognises how the dialogue could be seen as a turn off for mainstream audiences, and therefore Macbeth is one of the most visually-driven Shakespeare adaptations in recent memory. The lingering shots, beautiful cinematography and physical performances allow the viewer to gauge the main narrative without having to interpret one line of dialogue, making this both a rewarding and accessible adaptation for all audiences. The delivery is definitely not obvious, made through thick Scottish accents and gruff tones, but the strong visuals help to maintain the viewer’s understanding of events without them feeling they have to understand every single line spoken. As well as visuals, the soundtrack to the film is incredible, capturing the setting and period of Macbeth perfectly with an unmatched level of authenticity. Combined with the beautiful landscapes, this is one of the most atmospheric Shakespeare adaptations to date. There aren’t many movies out there that are truly flawless, but if you’re a fan of Shakespeare’s works then Justin Kurzel’s version of Macbeth is without fault. Every aspect comes together seamlessly with extraordinary talent working in each area – for a director still early in his career, Kurzel shows a great amount of promise. Perfect ratings don’t come often, but Macbeth is a 5 star movie if there ever was one – a movie I simply cannot criticise and one I could rewatch over and over, finding new details in this already age-old tale.