Written and Directed by Joel Coen
Starring Denzel Washington, Frances McDormand and Kathryn Hunter
Illegit-Macbeth beauties are infrequently Corleone-ed wind-Othellos opportunity Shakespeare-heading poetries without biting bul-Hamlet catastrophes. If high-school adolescents requested preparing list 10 problems they discountenance most about Shakespeare, Bard’s ho-Stiles treatment towards women as shrews tamed by Petrucio-fying monarchies would Levitt-ate above Ledgers. As exemplars, Roman Polanski’s “Macbeth” left Bard’s literature monarchy future hanging in bal-Duncan-ce disrespecting beauties Banquo-et “full-of-sound-and-fury-signifying-nothing”. Understandably, leave-guns-and-take Cannoli’s offer legendary celebrity’s infrequently capable declining considering origination during century women seldom got s-Kay in strictly business over personal matters without being Corleone-ed horse-heads sleeping-with-fishes. Before throwing daggers, Bard reflected Sense and Sensibility when women husband property in patria-Darcy prior to Austen-ere feminist demonstrating Pride and Prejudice. For writer as prized as precious ring taken across Two Towers by Hobbit, criticizing Bard’s like questioning Gollum-inous creature loading Baggins-age. However, poet’s tendency cooking Meth-odical story hiding crystal-clear misogyny from t-Hank-less FBI’s dis-Gus-ting problem. “To-be-or-not-to-be”: situation facing purr-fect lion that can’t-wait-to be-king exiled circle-of-life Scar-y uncle. Nevertheless, Dead Poet Society with goodwill affair fired suggest Bard smear (Washington Time, 2021). Why’s Lear-ning declined?
Macbeth-nificent soliloquies adaptations whereby strong-William-ed women bestowed c-Lear-ance Merchants-of-Venice brace-Hamlets despite Witches’ prophecies forewarning “something-wicked-this-way-comes” regurgitated in Joel Coen’s “The Tragedy of Macbeth”. Ambitious, insightful and suspenseful, it demonstrates crescendos when women aren’t heroes’ walking shadows in stage-shows. Coen commemorates Shakespeare’s stanza’s diminished modern-era. Boasting extraordinary production, awe-inspiring storytelling and phenomenal performances, it’s Macbeth-nificent adaptation. Although adaptation’s unforgettable, it isn’t flawless. It’s over-condensed, constructing Hamlet-fisted endings. Nonetheless, it offers enlightening Shakespearean entertainment.
Amidst old-fashioned Scotland, “The Tragedy of Macbeth” chronicles general’s insanity descent following masterminded spouses’ prophecies. Denzel Washington personifies Macbeth, power-searching Scottish-General fantasizing becoming monarch. When mischievous wife (Frances McDormand) attracts him assassinating Duncan, Macbeth seizes crowning opportunities. However, sovereignty transforms luxurious to nightmarish hallucination. As Macbeth questions sanity, he doubts prophecies.
Joel Coen’s commonly excelled constructing Blood Simple murders Fargo-ne genres No Country for Old Men filmmakers without reading Shakespeare. Following “Fargo’s” critical acknowledgement, Coen’s become phenomenal filmmaker. His Oscar-winning “Fargo” followed pregnant female police-officer investigating eye-opening homicides implemented amidst North Dakota’s underbellies. With “The Tragedy of Macbeth”, however, Coen builds Shakespeare adaptation. It’s Coen’s undertaking decontextualizing poet storytelling from feminist perspectives, but accomplishes successfully. For filmmaker gravitating genres about Truly Gritty criminals without Shakespeare stanzas, Coen showcases surprising finesse behind cameras. Using spellbinding cinematography, Coen recreates power-hungry ruler’s insanity downfalls amid sovereignty. Emulating Alfred Hitchcock’s “Rebecca”, Coen successfully capitalizes black-and-white Academy-Ratios demonstrating Macbeth’s powerlessness underneath controlling spouse. Like Rebecca’s Hitchcockian shadows making Mrs. Danvers chastise Mr. Winter, Lady Macbeth exerts authorities. If Gil Junger’s “10 Things I Hate About You” portrayed women as high-school tamed shrew, Coen celebrates feminism. Along DP Bruno Delbonnel, Coen honors beauties. Coen builds theatrical-viewing.
If Shakespeare modernized interpretations don’t attract attention, however, there’s plenty reasons to see “The Tragedy of Macbeth”. Coen excels foreshadowing catastrophe awaiting Macbeth through intelligent production-design symbolism. If Justin Kurzel’s “Macbeth” Hamlet-pered excessive expositions foreshadowing characters’ “Something-Wicked-This-Way-Comes” fate, Coen employs symbolisms foreshadowing catastrophes awaiting Macbeth. For instance, symbolism’s used successfully foreshadowing Macbeth’s psychological degradation during invisible-daggers sequence. During memorable scene, Macbeth hallucinates invisible-daggers imagination catapulting King Duncan’s assassination. One acknowledges invisible-dagger’s symbolic significances as temptation object corrupting power-searching leaders through Gollum-inous styles evoking Peter Jackson’s “The Lord of the Rings”. Emulating precious ring symbolizing Middle-Earth Gollum-inous temptations, invisible-daggers forewarn Macbeth’s downfall. Moreover, Mary Zophres’ costumes dazzle. Emulating Joe Wright’s “Pride & Prejudice”, clothes exhibit Sense and Sensibility of Pride & Prejudice era. Using dazzling production, Coen honors poetry.
Another Macbeth-nificent “The Tragedy of Macbeth’s” aspect’s script. Coen’s greatest screenwriting strength’s aptitude constructing feminism characters transitioning complicated stage-to-screen monologues. When transitioning legendary Shakespearean literature big-screen, filmmakers avoid commending risk abandoning source-material. Despite women portrayals being misogynist today’s standard, questioning Shakespeare’s works equates criticizing Bibles. As Baz-arre exemplification, Baz Luhrmann’s “Romeo and Juliet” painted analogies between women and Ethiop’s-ear jewelries in-Capulet-able controlling pla-Montague tragedy. Fortunately, however, “The Tragedy of Macbeth” abandons misogynist conceptions. Coen sensibly avoids desensitizing women misogynistic victims. Emulating AMC’s “Breaking Bad”, Coen meticulously illustrates Lady Macbeth’s crystal-clear mourning Breaking Bard criminalities through dramatic soliloquy. Recalling Walter White’s Felina to-sky-lerant families apologies, Lady Macbeth’s soliloquies incorporate humanity into personality. If previous interpretations denunciated queen victim objectified throughout eroticized sleepwalking, Coen demonstrates character’s tormented experiences through heartfelt sleepwalking monologue. Coen builds sympathetic queen magnetizing viewers’ sympathies despite crystal-clear meth-odical criminalities. In genre denunciating beauties Juliet-ries in-Capulet-able Hamlet-fisted destinies, it demonstrates feminism. Monologues’ tricky technique translating from stage-to-screen. However, they work Macbeth-nificently. Consequently, Coen commemorates underappreciated women.
One acknowledges Macbeth-nificent performances. Coen’s decision employing inclusive color-blind casting works tremendously.
Denzel Washington delivers stardom-defining performance as Macbeth. Washington achieved appreciations portraying police-officers with King Kong aggressions in crime-thrillers (ex. Antoine Fuqua’s “Training Day”). With “The Tragedy of Macbeth”, however, he embodies Shakespearean character. It’s intimidating regurgitating Bard’s legendary soliloquies. However, Washington excels. Evoking Al Pacino in Francis Ford Coppola’s “The Godfather”, Washington builds leader unable refusing monarchy offer Corleone-ed by Godfather patriarchy sleeping-with-fishes. With riveting expression, he conveys ambition, jealousies and resentments of general’s sovereignty sacrificing insanity. It’s Oscar-worthy theatrical performance.
Frances McDormand’s marvelous as Malcolm-licios spouse using her husband’s Almost Famous ascension to Fargo-ne successions merely conquering Nomadland nations. Emulating Lena Headey in HBO’s “Game of Thrones”, McDormand constructs monarchy combating Sin-Lannister misogyny against Tyrion-ical patriarchies. Disguising innocent flowers but being serpent underneath, McDormand injects humanity into adversary through vocalized authority. Whether screaming Macbeth to murders or silently mourning sleepwalking, McDormand personifies majesty through voice. It’s phenomenal performance.
Concluding standout’s Kathryn Hunter. Emulating Margaret Hamilton in “The Wizard of Oz”, she proves somewhere over rainbow Shakespeare women belong.
Despite strong performances, however, “The Tragedy of Macbeth” recites Hamlet-fisted over Macbeth-nificent soliloquies not illuminating as colorfully as Deathly Hallows kidnapped by Merchants-of-Venice from Romeo-antic love-birds against Godfather rivalries. Coen’s decision shortening literature into 90 minutes is clever and unexpected. However, it cultivates minimal character evolutions. Unlike source-material, Coen barely skims surface of Macbeth’s relationship with spouses. As Kenneth Branagh’s 4-hour-long “Hamlet” proved, directors mustn’t be Hamlet-pered for time allowing poetry cauldron bubble. Moreover, movie suffers Hamlet-fisted conclusion. It’s abrupt ending causing questions rather than bringing story satisfying closure. Whereas cliff-hanger conclusion cata-Potter-ulted David Yates’ “Harry Potter and the Deathly Hallows: Part I”, it deviates source-material. Hence, non-readers may find ambiguous ending hard-to-follow. Therefore, adaptation falters.
Nevertheless, Shakespeare fans will recognize “The Tragedy of Macbeth” as will moviegoers seeking poetic entertainment. A Macbeth-nificent adaptation, it demonstrates something wickedly wonderful’s in destinies for beauties in centuries-old poetries. If witches prognosticate schools stop Lear-ning Hamlet-Pered writer’s soliloquy “full-of-sound-and-fury-signifying-nothing”, they’ll Corleone Bard offer he can’t refuse claim Lord of the Rings despite King’s Speech soliloquys given by King Richard III on West Side Storeys entitled “10 Things to Hate Most about Shakespeare” treasured in Dead Poet’s Society’s libraries demonstrating Bard’s sexism originating in Twelfth Night time when performing Viola-tion for diva make him in-Capulet-able touching greenlight feminism Gatsby-ther by Austen-ere feminists combating Pride and Prejudice in Manderley Household cursed by Spectre of spy with No Time to Die Goldeneye-ing scantily-clad women in Casino Royale wondering to-report-or-not-report Romeo-antic Juliet-ries’ robberies to Lion-hearted kings of Circle-of-Life countries.