Here’s a bold statement for you: Justin Kurzel’s Macbeth is the best cinematic Shakespeare adaptation I’ve ever seen.
We live in a world where Shakespeare’s plays have become more of an academic subject than one of entertainment—every English literature class in the world likely has at least one Shakespeare piece of writing in its curriculum, which kind of takes away from the brilliance of the stories.
When teenagers are forced to read Macbeth for school, I really doubt they will take much from it other than the fact that Sparknotes sure has a lot of info on it. Shakepeare’s plays have become overanalyzed by academics to the point where you can have a flawless understanding of the characters, themes and historical background of the stories without even reading a line from the play.
Justin Kurzel, with his hyper-stylized and mesmerizing adaptation, takes what has become a boring, academic play and turns it into what it was meant to be in the first place: a moody, bloody, gut-wrenching tale of moral corruption.
We all know the plot details by now, but it was truly spectacular to see the familiar tale of Macbeth told in such a raw, gritty way. There are no lavish castles and jewelry to be found anywhere in the set—Justin Kurzel’s medieval Scotland is one of fur and tents, with wooden buildings and campfires strewn about, giving Scotland the appearance of a nation truly oppressed by the English crown.
Without delving too heavily into film review clichés, Kurzel’s Macbeth takes an old story and makes it fresh again, reinvigorating our interest in these incredibly complex characters set to the absolutely gorgeous backdrop of the Scottish highlands.
The main three performances in this film are truly a sight to behold, particularly with their (mostly) spot-on Scottish accents. Michael Fassbender’s Macbeth is a tortured soul, performing the atrocious acts required of the character as a harrowed man, brokenhearted and lost amidst the loss of his son and unhinging of his wife. When we look into his eyes, we see a weary soul, pained to the point of losing control of reality and intentions.
Marion Cotillard is equally impressive as Lady Macbeth, portraying her as a slightly unhinged, but strong-willed woman, with heavy emphasis placed on her unfathomable grief following the death of her daughter just prior to the beginning of the film. The biggest issue with Lady Macbeth in the original play is that she basically disappears towards the end—Kurzel, I assume, was not content to waste the talent of Cotillard and instead gives her an extended, wordless role towards the end of the film. Even without a line of dialogue, Cotillard captivates us with what I consider to be the most expressive eyes in the industry.
The standout performance, which is saying a lot considering the quality of Marion Cotillard’s and Michael Fassbender’s performances, comes from Sean Harris as Macduff. Perhaps the most overlooked role of the film, Harris gives an absolutely masterful performance as the primary victim of the madness of the Macbeths. He brings an electrifying, but sympathetic energy to the vengeance-seeking Macduff, making the final confrontation with Macbeth that much more satisfying.
The whole film is bathed in a sense of dread as we watch these once admirable characters have their lives fall apart in front of them. When we reach the final battle, every shot is is filled with stunning red smoke, engulfing everything on screen. The bleak, but gorgeous cinematography will linger in your mind for days after seeing this film, as will the unnerving soundtrack by Jed Kurzel, which perfectly captures each character’s decent into madness and grief.
By the time the credits roll over more shots of the Scottish mountains—this time tinted entirely in red—you’ll leave the cinema with a newfound appreciation for the power of one of Shakespeare’s greatest works in the hands of a group who truly understands the material.
