Justin Kurzel understands Macbeth.
A lot of Shakespeare’s work is viewed through the lens of cultural importance, and quite rightly. His plays codified a phenomenal amount of the English language in use today, incorporation and amalgamating words and phrases that people use without even thinking. Shakespeare codified drama and storytelling in the English language, to the point where any number of his plays can be cited as the defining example of particular styles of dramaturgy. There is no other figure who can cast such a shadow over English-language culture.
However, the tendency to treat Shakespeare’s works as priceless artefacts – an attitude engrained by the (rightful) reverence they receive and the way that they are taught in schools – is to miss the vitality and excitement of his work. Shakespeare might have endured as the defining wordsmith of the English-language, but before that he was just a really popular writer with an incredibly populist touch. His plays existed as spectacle before they became holy relics. The jokes played to the galleries packed with punters wanting both high and low culture.
As much as Macbeth might be a searing and insightful exploration of the relationship between violence and masculine identity, it was also pure unadulterated pulp. Justin Kurzel plays up this pulpy spectacle, crafting a version of Macbeth that anchors apocalyptic horror in two amazing central performances. Macbeth is a joyous and horrific piece of cinema, brutal and beautiful in a way that befits its source material.
Filed under: Non-Review Reviews | Tagged: justin kurzel, macbeth, marion cotillard, Michael Fassbender, non-review review, review, shakespeare | 8 Comments »