420 film adaptations of his stage plays lists on Wikipedia. William Shakespeare is by far the most filmed author of the story. Hamlet , for example, 75 times was filmed – eight times alone between 1907 and 1917. This also has to do with the attempt of the early filmmakers to revalue their young art with the merits of high culture. But especially in the English speaking world, the fascination with Shakespeare undiminished even today. Justin Kurzel Macbeth is it just the latest example and the way already the 15th film version of the famous tragedy.
Orson Welles in 1948 made it an allegorical low-budget adaptation with only one stage. Roman Polanski processed in 1971 with its particularly bloody version of his pregnant wife Sharon Tate murder. 1992 Macbeth was a cartoon character. 2006 Sam Worthington played him as a modern Australian Gangster, Patrick Stewart, 2010 in a TV movie with clear allusions to Joseph Stalin. Phew. Which variant can there still come? Macbeth in space?
Quite the contrary, Kurzel version seems almost classical in. Not only does he leaves the story of how in 1623 the resulting piece in the 11th century. The actors recite Shakespeare’s original dialogue. At the same time the young Australian director Justin Kurzel remains true to himself. His debut Snowtown was a brutality and bleakness hardly be surpassed thriller-drama about a mass murderer in Adelaide. And already the first pictures make it clear: even Kurzel Macbeth is not a comedy.
Barefoot in hail
As are the Scottish Prince and his wife in the rainy, windswept Scottish countryside and contribute her child to the grave – an addition seal the screenwriters. Visibly shaken and bent people from inhospitable climate of northern Europe are. Wet the much too thin clothes, muddied the leaky shoes. One wonders how people could even survive a winter without time outdoor. Kurzel Macbeth is effectively the climatological variation of the tragedy.
This is meant quite seriously. The film was made in 36 days of shooting on location in Scotland. Only six of them drove Kurzel his actors not go outside. For Marion Cotillard meant that they sometimes had to play barefoot in hail. Rain, storms and thunderstorms are not only theatrical thunder, the metaphorically the inner workings of the figures reflects, but the climate is very concrete in their constitution. If Macbeth is gripped by madness, then also because of the unsustainable external circumstances under which he must exist.
Kurzel wants to establish a sense of the historicity of the substance, he leads the life of the Middle Ages as realistic as possible in mind. This is a really exciting aspect of its remake, especially since he also tried the lust for power, Macbeth and his wife rips into ruin, presented as consequences of mental devastation. Therefore initially need their child to die – both are traumatized by the loss. For Kurzel, he says it in the press release, in addition to suffering from Macbeth one caused by a posttraumatic stress disorder psychosis triggered by the bloody battles which he proposes for his king.
bloodlust and remorse in a monologue
For the actors the approach, the theatrical tragedy with realistic elements means to underpin that they must look natural despite the sweeping language of Shakespeare. Michael Fassbender, undoubtedly one of the most exciting film actor of the present, so copes not so good. With him, it seems as if it hemme of difficult to speaking dialogue, he lies down like an invisible weight on his game and makes it unusually stiff. The real emotional center of the film is the Frenchwoman Marion Cotillard in the role of Lady Macbeth, which drags him through her sensational performance in itself. How it despite the language barrier internalized dialogues as nuanced between loud and soft playing and can appear within a monologue bloodlust, remorse and profound desolation – that is simply sensational.
can save the film Cotillard still not. Because Kurzel pursued his realistic approach unconvincing and instead it uses all sorts of movie gadgets. His imagery is extremely stylized; constantly is a red filter over the recordings, which, one suspects it, anticipate the rivers of blood that are still flowing. The battle at the beginning of the movie staged Kurzel with extreme slow motion, in which the fighters zustürmen another. In moments like these acts Macbeth as an overly ambitious variant of the comic book adaptation 300 .
What to look massive and emphasizes the fateful nature of the plot, soon leads to stagnation. Kurzel Macbeth knows no modulation of mood. Here reigns resistant gloom and doom and bearded men look grimly at the camera. Given the monotony of the images, the viewer soon loses interest in the intrigues and battles that stretch endlessly in the last third felt. From psychological accuracy no trace. An allegation by the way, the critics more than 40 years ago even Roman Polanski made processing.
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