THE TRAGEDY OF MACBETH

US, 21, 107 minutes, Black and white.

Denzel Washington, Frances McDormand, Alex Hassell, Bertie Carvel, Brendan Gleeson, Corey Hawkins, Harry Melling, Miles Anderson, Matt Helm, Moses Ingram, Kathryn Hunter, Stephen Root, James Udom.

Directed by Joel Coen.

Shakespeare’s Macbeth is so well-known. And there have been many screen versions. Joel Coen’s The Tragedy of Macbeth is a welcome addition. As can be seen by the running time, 107 minutes, and Joel Coen deciding to add The Tragedy to the title, this is something of an abridged version of the play, going to the core of the drama, to the core of the characters.

While audiences are familiar with many of the passages, key and often-quoted lines, the interest is in the performances, of course, but also in how of the drama is staged and photographed. For most audiences who watch this version, there will be several revelations. The black-and-white photography is striking, to say the least. The black-and-white design, light and shadows, fading in and out of fog, falcons and ravens scouring the sky, and the final shocking outburst, reminding us of the image of a murder of crows. And the sets are quite stylised, interiors of the castles, pillars and vastness, long corridors, staircases. And eerie exterior scenes, the pool where the witches will appear, the bleak moors, and the forest of Burnham wood. Watching the film is a constant excitement and delight.

As mentioned, this is an abridged version of Shakespeare’s play. However, the familiar scenes are present, (even to the comedy of the Porter, Stephen Root) as well as the well-known lines. Denzel Washington is a powerful presence as Macbeth, initially pleasant, loyal to the king, flattered by his promotion. But, there is encounter with the three witches (imaginatively portrayed by actress Kathryn Hunter, draped in black, arms akimbo, resembling the wings of the crows and ravens, harsh voice, aged androgynous, memorable). Doubts and possibilities in Macbeth’s mind, the discovery of a lurking ambition, and the presence of Lady Macbeth. Frances McDormand’s performance is an interpretation of Lady Macbeth with no redeeming qualities. She has stood by Macbeth and loved him, is ambitious for him, and, amorally, she has no scruples in orchestrating the murder of the King and blaming on the guards.

Brendan Gleeson, Irish accent, is Duncan. Harry Melling is Malcolm. But, ever-present is a character that one might vaguely remember from reading the play or performances, the messenger, Ross. Coen has made him much more significant in this version, certainly a messenger, present at key moments, but a Machiavellian figure, also in black with arm flaps, ever treacherous, with Banquo, with Macduff, ingratiating himself, discussing the situation and manoeuvres, yet finally sharing in Malcolm’s triumph. A very interesting reading and performance of this character by Alex Hassell.

One of the other advantages of this version is that many of the speeches and soliloquies, with many close-ups, are splken as the characters walk with energy along long corridors or ascend and descend staircases. Another advantage is the delivery of the well-known speeches in rather quieter tones, sometimes semi-conversational, effective by being intimate, confiding in the audience, rather than the rhetorical theatrical style in the Olivier vein.

Frances McDormand is a steely determined Lady Macbeth, strongly single-minded – until she sleepwalks and she crumbles from the interior challenges to her conscience.

There is a touch of the American in the production, many of the cast, including African-American actors, for instance, as Macduff and lady Macduff. Also touches of American accents.

What Coen has done is laid out for us the development of Macbeth’s tragedy so that by the end, a man who had some morals becoming more and more guilt-ridden, seeing ghosts, arguing with his wife, finally bellowing in madness as Burnham wood approaches Dunsinane. (And, a commendation to how the Burnham Wood advance is handled, soldiers carrying branches, crowded, and Macbeth suddenly overwhelmed by gusting leaves as he opens a window to look on the advancing troops.)

And, with such a comparatively brief running time, one is tempted to watch it again.

1. The status of Macbeth? Onstage? On screen? This film in the screen tradition?
2. Joel Coen, his career as director, his decision to abridge Shakespeare’s play, adding The Tragedy to the title to highlight this? His incorporating the main sequences, the main dialogue and speeches?
3. The black-and-white photography, its impact, light and dark, shadows? The effect of the many overhead shots? Atmosphere?
4. The set design, the heaths and the exteriors, the forest, the contrast with the interiors, stylised, spaces, pillars, corridors, staircases?
5. The symbolism of the birds, falcons, ravens, crows, flying high in the sky, swooping on characters, references to ravens, at the battle, the end, the final eruption of birds on the screen?
6. The musical score, its atmosphere, the pounding drums?
7. Shakespeare’s language, as spoken, the lack of theatrical rhetoric, quiet speeches, sometimes conversational, reflective? Especially for Macbeth himself? And Lady Macbeth?
8. Denzel Washington as Macbeth, decisions about casting, African-Americans, indications of American accents? Brendan Gleeson as Duncan and his Irish accent? British cast, African-American supporting cast? The effect for the universal meaning of the play?
9. The political situation, Duncan and his sons, Norway’s attack, the Thane of Cawdor and his treachery, arrest, the confrontation by Ross, his execution? Praise for Macbeth? His becoming Thane of Cawdor? The encounter with the witch/witches, the impact of the appearance of the witch, her voice, clothes, black, arms like wings? The prophecy? Banquo and his heirs? The effect on Macbeth, hearing of his promotion, the king deciding to stay with him?
10. Macbeth and his ruminations, trying to be honourable, encounter with the witches, the prophecy, the role of Banquo and his heirs, Duncan praising him and naming him Thane of Cawdor, the surfacing of a lurking ambition? Arriving home, reunion with his wife, her suggestions, her motivations, quiet ruthlessness? Macbeth accepting the situation? Receiving Duncan, his sons? The celebration, Lady Macbeth and the guards, the drink? The killing of Duncan? The reaction, Macbeth in control, slaying the guards and his explanation? Malcolm and Donalbain fleeing? The comic interlude of the Porter’s speech?
11. The presence of Ross, his black cloak and garb, messenger, present at all the situations, intervening, Machiavellian, changing loyalties, cruelty, his speeches and discussions? His eventual going to see Duncan’s sons? Present with them at the end?
12. Lady Macbeth, Frances McDormand, her speeches, age, having given birth, but childless, ambition? Controlling?
13. The effect on Macbeth, his being named king, seen at his Castle, Lady Macbeth as Queen? Holding court? The relationship with Banquo, his leaving for the day, the pursuit of Banquo and his murder? Fleance escaping? The witches’ prophecy? The old man taking care of him?
14. Macbeth, mental disturbance, his ranting, the banquet, Lady Macbeth covering for him? Banquo’s presence?
15. The return to the witches, their prophecies, his being reassured about his not being killed?
16. Macduff, his wife and children, relationship with Macbeth, the orders for them to be killed, the scenes of the mother and children, the massacre? Macduff on the move to vengeance?
17. Lady Macbeth, the sleepwalking, the revelation of her inner conflict, the nurse and the doctor listening? At the top of the stairs, her death?
18. Macbeth, tyrannical, the attack, Macduff and Malcolm and the troops coming to Burnham Wood? The threat to Macbeth? The prophecy about Burnham Wood, the tactic of the soldiers with the branches, crowded together, on the forest path, the Wood coming to Dunsinane?
19. The messengers coming to Macbeth, his disbelief, his opening the window, the enormous gusto of leaves?
20. Meeting Macduff, the swords, the battle, the revelation about Macduff’s birth? The death of Macbeth?
21. The falling crown, retrieved, the role of Ross, riding to Malcolm with the crown and Macbeth’s head?
22. The end, Fleance coming to the Castle, and, as in Shakespeare’s plays, the restoration of social order?