With a film adaptation comes the privilege of CGI and cinematography (which was well done by Adam Arkapaw, whom Kurzel worked with for his debut film, Snowtown), and we’re proud to declare that Kurzel made the best of his medium. Cotillard brings her classically languid elegance, which was obvious in Nine and Inception, to the screen, putting on what’s one of the most nuanced performances of the scene possibly to date.
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She wasn’t frantic or angry she was simply a woman coming apart at the seams, with no idea how to stop it.
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In another bold move, Lady Macbeth delivers the soliloquy uninterrupted in full consciousness on the floor of a wooden chapel shrouded in a pristine, white robe. In particular, Cotillard’s stunning rendition of the stoic, manipulative Lady Macbeth’s renowned sleepwalking soliloquy has to be the first of its kind we’ve seen. Macbeth is evidence that potential can be dug out of anything even over-analyzed 400-year-old plays get a good ol’ 21 st century ‘welcome back’.Ĭotillard and Fassbender deliver compelling performances of the complex couple with their rousing on-screen presence that was strong enough to carry the movie. Some parts that didn’t translate well from stage to screen (like the iconic “ Double, double, toil and trouble” spell) were scrapped, and fresh elements were transplanted into the script (like the death of the Macbeths’ child). It is probably because of this need to stay connected to mainstream audiences that this version stripped the play down to its bones. And much like Akira Kurosawa’s Japanese Macbeth adaptation, Throne of Blood, and Roman Polanski’s gruesome retelling, Kurzel’s Macbeth is fitting for modern cinema – brooding, visceral, and so, very real. Retaining the language, which may prove challenging to viewers who haven’t studied the texts and don’t listen to Scottish accents much, the already dark Shakespearean play takes an even darker turn in this film noir-esque war drama. Spurred by his vanity and the power lust of his wife, Lady Macbeth ( Marion Cotillard), he murders the king, King Duncan ( David Thewlis) to claim the throne for himself. Bloody, bold and resolute, Kurzel’s Macbeth also is, and, we dare say, a sure contender for next year’s Academy Awards.įor those who aren’t familiar with Shakespeare’s shortest tragedy, it tells the story of the noble Macbeth ( Michael Fassbender), a Thane or Scottish lord, who is approached by 3 witches prophesying that he’ll be King of Scotland. This prophecy that no human being can harm the titular character, applies just as well to Australian filmmaker Justin Kurzel’s adaptation. “Be bloody, bold, and resolute laugh to scorn
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