While it will not please everybody, Kurzel's treatment of a familiar story is little short of spectacular, gripping the spectator emotionally and visually.
There have been many treatments of the semi-fictional yet inspiring Shakespearean saga of ambition and corruption, with famous actors and directors from the earliest days of cinema. In 1971, Polanski injected new life in the tale by depicting the grimness of the early Scottish landscape and the violent and brutality of events from the play. Although Polanski made an effort towards faithfulness of the words written by the Bard, bringing a grittiness to the screen that could hardly be achieved on stage, Kurzel in one sense goes a stage further, completely accepting that cinema is a different medium and that faithfulness to the spirit of a story can be fulfilled in many dimensions.
From the very opening scenes, before hardly a word has been spoken, Kurzel uses visual images of desperate conditions, a child's death, a youngster preparing for war, to heighten our emotional sensitivity. When spoken words begin, there is little attempt to 'make Shakespearean English understandable' in the normal way. True to the story, he uses heavy Scottish accents, forcing the viewer to follow what is happening visually, and the emotional journeys become a tsunami.
Superb acting shows Macbeth as an initially good, loyal, man, the three witches not as bat-boiling hags but as sincere, folklorish women, and the future Lady Macbeth as devoted, loving and kind (if a bit misguided). All this fits with reasonable history of the period and the story generally. The unsophisticated Macbeth is loyal to his king, but allows his wife (who wants him to succeed in life) to influence him against his better judgment. Her unravelling, as she witnesses the monster that her husband has become (at her bidding) is a transformation effected by Marion Cotillard in one of the most remarkable female performances of the year.
As long as you have a passing idea of the story, it is easy enough to follow by focussing on the emotions of the characters. There is no need of the usual cinematic markers of overblown heroism and evil deeds to delineate good and evil (although there are plenty of evil deeds as well, some of them clothed in sweetness and piety). We can see for ourselves, in the subtle expressions and choices, as a pure heart becomes corrupt, and as evil takes root until the person no longer knows themself.
The contrast between the old king and Macbeth in power also touches on broader themes: that leaders can embody things that all men and women aspire to, such as honesty, recognition of others, kindness and a better future for all. When these are lacking, most people no longer love and identify with their king but merely think of staying alive, being a bit better off materially, or going home to their family.
Kurzel finds novel ways of dealing with the big supernatural events that strike us as entirely credible without the use of special effects and even manages to add a new interpretation to the famous 'Birnham Wood'. The stunning climax might suggest modern day lessons of tolerance over the heated Scottish independence question; and the final footage is used not to amaze in typical blockbuster style but to tear at one's heart and guts as we consider the horrors visited on innocent men and children by the unleashed greed and ambition that was as unstoppable as it was unintended.
One cannot make a film like this which breaks the mold without upsetting those that seek straightforward entertainment. Yet this is, in some sense at least, Shakespeare: those that only go for battle scenes and the story on a plate may leave feeling distinctly unsatisfied.
There have been many treatments of the semi-fictional yet inspiring Shakespearean saga of ambition and corruption, with famous actors and directors from the earliest days of cinema. In 1971, Polanski injected new life in the tale by depicting the grimness of the early Scottish landscape and the violent and brutality of events from the play. Although Polanski made an effort towards faithfulness of the words written by the Bard, bringing a grittiness to the screen that could hardly be achieved on stage, Kurzel in one sense goes a stage further, completely accepting that cinema is a different medium and that faithfulness to the spirit of a story can be fulfilled in many dimensions.
From the very opening scenes, before hardly a word has been spoken, Kurzel uses visual images of desperate conditions, a child's death, a youngster preparing for war, to heighten our emotional sensitivity. When spoken words begin, there is little attempt to 'make Shakespearean English understandable' in the normal way. True to the story, he uses heavy Scottish accents, forcing the viewer to follow what is happening visually, and the emotional journeys become a tsunami.
Superb acting shows Macbeth as an initially good, loyal, man, the three witches not as bat-boiling hags but as sincere, folklorish women, and the future Lady Macbeth as devoted, loving and kind (if a bit misguided). All this fits with reasonable history of the period and the story generally. The unsophisticated Macbeth is loyal to his king, but allows his wife (who wants him to succeed in life) to influence him against his better judgment. Her unravelling, as she witnesses the monster that her husband has become (at her bidding) is a transformation effected by Marion Cotillard in one of the most remarkable female performances of the year.
As long as you have a passing idea of the story, it is easy enough to follow by focussing on the emotions of the characters. There is no need of the usual cinematic markers of overblown heroism and evil deeds to delineate good and evil (although there are plenty of evil deeds as well, some of them clothed in sweetness and piety). We can see for ourselves, in the subtle expressions and choices, as a pure heart becomes corrupt, and as evil takes root until the person no longer knows themself.
The contrast between the old king and Macbeth in power also touches on broader themes: that leaders can embody things that all men and women aspire to, such as honesty, recognition of others, kindness and a better future for all. When these are lacking, most people no longer love and identify with their king but merely think of staying alive, being a bit better off materially, or going home to their family.
Kurzel finds novel ways of dealing with the big supernatural events that strike us as entirely credible without the use of special effects and even manages to add a new interpretation to the famous 'Birnham Wood'. The stunning climax might suggest modern day lessons of tolerance over the heated Scottish independence question; and the final footage is used not to amaze in typical blockbuster style but to tear at one's heart and guts as we consider the horrors visited on innocent men and children by the unleashed greed and ambition that was as unstoppable as it was unintended.
One cannot make a film like this which breaks the mold without upsetting those that seek straightforward entertainment. Yet this is, in some sense at least, Shakespeare: those that only go for battle scenes and the story on a plate may leave feeling distinctly unsatisfied.