MACBETH

UK, 2015, 113 minutes, Colour.
Michael Fassbender, Marion Cotillard, Sean Harris, David Thewlils, Paddy Considine, Elizabeth Debicki, Jack Raynor, David Hayman.
Directed by Justin Kurtzell.

When there is a theatrical production of Macbeth, the cast and staff usually have a tradition/superstition of not mentioning the play by name. Rather, they call it “the Scottish Play”.

The Scottish aspect of this film version, directed by Australian Justin Kurtzell, is very much to the fore. For a start, most of the actors speak with the Scottish accent, or a Scottish burr, which doesn’t make it necessarily easier to understand for the wider audience – but it does give it that feel of authenticity. There is even more authenticity in the locations where the film was made, the Scottish Highlands, the mountains and crags, the rather desolate looking plains, primitive-looking dwellings and church, a large castle, and some scenes by the sea. It is, to say the least, very atmospheric.

Irish actor, Michael Fassbender, is a physically imposing Macbeth, seen early in the film in full battle mode, wielding his broad sword. But he is a man of intense complications, sometimes pausing before lines, within lines, thinking, reflecting, even brooding. He is certainly influenced by the three witches who are not terrifying hags but rather ordinary looking women, one with a child standing by her, the other holding a baby – who reappear at crucial times, especially in the finale, when their prophecy that Macbeth will be killed by someone who is not human born and Macduff’s premature s birth is explained to him - they stand and then walk away, to do some prophesying elsewhere.

This means that we are constantly re-assessing Macbeth, perceiving his ambitions, the influence of Lady Macbeth (even with sexual impetus and persuasion), the truly bloodthirsty killing and repeated stabbings of Duncan, Macbeth’s hypocritical pretences after the murder, and his mental deterioration, especially at the banquet scene, and seeing Banquo’s ghost. His madness and cruelty assert themselves, especially with the alarming murder of Lady Macduff and her children, tied to the stake to be burnt. With Lady Macbeth’s death, his soliloquy, tomorrow and tomorrow and tomorrow is delivered so quietly, almost with a whisper, and deep interiority.

Audiences may well be surprised at the interpretation of Birnam Wood’s coming to Dunsinane and not in the way that has been traditionally presented but this time in apocalyptic fire. This certainly gives a dramatic turn to the finale, the confrontation and fight with Macduff, the arrival of Malcolm through the flames – and Macbeth still kneeling, dead, on the battlefield.

It is surprising to see French Marion Cotillard as Lady Macbeth, ruthless in a more subtle way, more feminine than is usual (rather than her cry of “unsex me”). She is very much complicit in the murders, devoted to her husband, but having to take control when Macbeth appears more and more berserk at the banquet. Her final soliloquy is very impressive, all in close up, the camera not moving to her hands and her awareness of the blood on them.

Veteran British character actors are in support: Duncan, David Thewliss, Banquo, Paddy Considine, and a very effective Sean Harris as Macduff.

The text has been significantly abridged, the film running under two hours, and there is no Porter’s scene, for instance. Rather, this adaptation focuses on Macbeth, Lady Macbeth, Macduff and the restoration of the damaged kingdom under Malcolm. There are many vistas of the bleak Scottish landscapes, but a great deal of the drama is communicated by intense close-ups, individuals, two people speaking to one another. Mostly it is dark but there are some surprising sequences in the light.

There are complaints when the film is re-made, many critics comment on the value of the original (even when it is decades since they have seen it). With Shakespeare’s plays, audiences do not worry about having seen many versions, learning something different from each, enjoying making comparisons. This version is a significant contribution to the impact of Shakespeare’s tragedies and of the Scottish play.

1. The Scottish play, reputation, the tradition of performance? Onstage? Film versions? Memories of Orson Welles, Roman Polanski?

2. Shakespeare, tragedy, the tragic flaw, the fall of the great man? Macbeth’s greatness, his floor?

3. The variety of versions, interpretations, the use of the text, pruning the text?

4. The film Scottish locations, mountains and plains, harshness? Battlefields, accommodation, church, Cathedral, banquet hall? The atmospheric score?

5. The theme of children, the initial death of the baby, that Lady Macbeth was another, her plea to be unsex to, the other children? Audience and Banquo? Macduff and his children? Lady Macbeth? The brutality of their deaths? Duncan and his sons, the role of Malcolm? Macbeth’s vision of the dagger the young man holding it? The tone for the film?

6. The witches ordinary, with the child, with the baby? Plain appearance? Their prophecy? The continued appearances throughout the drama? The witnesses at the end, prophecy fulfilled, their turning away? The film’s focus on the natural and the supernatural?

7. Scotland, the characters and their accents, the kingdom, the role of the King, the fiends? Issues of power, ambitions, warfare, the visualising battles, in the middle of the fight, the slow motion, the postures? The violence? Murders, on-screen? Executions? The theme of blood?

8. Macbeth, involved in the fighting, winning, the delivery of his lines, often pauses between, within? The effect of the prophecies, experiencing the fulfilment, everybody praising Macbeth? The death of the child, his wife and her influence, after the battle, the sexual motivation? Duncan and hospitality, the decision, the depicting of his death on screen, stabbing, extended, blood? Macbeth’s hypocrisy, covering, killing the attendance, proclaiming loyalty, his being acclaimed?

9. Lady Macbeth, her character, in the morning for the child, after the battles, the sexual encounter, her ambitions, urging her husband? Replacing the dagger with the dead servants, blood on her hands, the achievement Western Mark

10. Malcolm, his presence, the alarm, his writing away, to England, interpreted as disloyalty?

11. “, In the battles, friendship with Macbeth, the scene of his murder, aliens and his running away?

12. The character of Macduff, strong, leading? Lady Macduff and the children, the realisation, attempting to flee, tied to the stake, their being burnt? Macduff and his reaction, vengeance?

13. The emphasis the film put on the banquet, Macbeth and his deterioration, mental condition, seeing Banquo’s ghost, his losing coherence? Lady Macbeth, concern, her control, urging the guests to leave?

14. Lady Macbeth, her famous soliloquy, all done in close-up, issues of blood but no photographing hands? Her death and Macbeth’s reaction?

15. Macbeth soliloquy, tomorrow and tomorrow and tomorrow, low key delivery, but its intensity, revealing Macbeth’s mentality? The prophecy about Birnam Wood, of the men defeating Macbeth was not born of women? Macbeth confident, arrogant, thinking himself invincible? Birnam Wood, the fire, the ashes would coming to the castle, apocalyptic? Confrontation with Macduff, the heavy fighting, Macbeth and his kneeling after death?

16. Malcolm, return, the scene in the cathedral, or do being restored?

17. Contribution to films of Macbeth?