There is something inherently cinematic about Macbeth.
More than the other three of Shakespeare’s “big four” tragedies, Macbeth is a movie that lends itself to bold cinematic adaptations. To be fair, there are great cinematic adaptations of Hamlet and King Lear, but there don’t seem to be quite as many of them that linger in the consciousness. It’s interesting to wonder why cinema seems to be such a perfect form for this Jacobean tragecy. Maybe it’s the overt supernatural elements, or the grim setting, the intersection of stark morality and brutal violence. It might even be uncanny imagery suggested by the dialogue. Perhaps it’s all of these. Perhaps it is none of them.
Black and white morality.
Whatever the reason, from straight adaptations like those of Orson Welles through to Justin Kurzel and more abstract interpretations like Kurosawa’s Throne of Blood, Shakespeare’s historical tragedy is one that really pops within these heightened and formalist adaptations. It helps that the play works in any number of registers: as tragedy, as horror, as drama, as morality play. Indeed, in the context of The Tragedy of Macbeth, it’s tempting to argue that Macbeth fits surprisingly well within the Coen Brothers’ larger filmography of inept and over-confident criminals undermined by their own incompetence.
The Tragedy of Macbeth is a worth addition to both this list of impressive adaptations and the filmography of director Joel Coen.
A doorway to madness…
Filed under: Non-Review Reviews | Tagged: film, joel coen, macbeth, Movie, non-review review, review, shakespeare, the coen brothers, the tragedy of macbeth | Leave a comment »
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