The Tragedy of Macbeth

By the pricking of my thumbs,

Something wicked this way comes.

William Shakespeare’s timeless play has seen numerous adaptations in the past, especially to film.  In recent years, Michael Fassbender and Marion Cotillard starred in a 2015 re-telling of the story, and we’ve also seen director Roman Polanski try his hand at it in 1971.  This time, director Joel Coen—one of the Coen brothers, who have made names for themselves with films including No Country for Old Men, Fargo, and The Big Lebowski—gives us his own vision of the classic tragedy, and skillfully recreates it in an impressive, powerful, haunting production.  It also lacks any of the Coens’ usual trademark quirks, even some of the dark humor found in No Country for Old Men or Fargo. 

Shakespeare’s play is, after all, a tragedy that centers around the Scottish lord Macbeth (here portrayed magnificently by Denzel Washington).  You may recall that he is visited by three witches during his travels and listens to their prophecy that he shall be the next King of Scotland.  Convinced by Lady Macbeth (Frances McDormand, also sublime), he commits regicide.  All the while, he becomes increasingly paranoid and tyrannical, while also fighting his inner demons.  He pursues specters of his victims through the castle in fits of madness, although nobody else sees them. Meanwhile, Lady Macbeth becomes like a ghost herself, passing through the hallways of the castle, and scrubbing her hands, desperately crying, “Out, damned spot!”

It’s not necessary to recount the entire play, because you likely know it already.  But what sets Joel Coen’s adaptation apart is that it was shot in black-and-white, and entirely on sound stages.  Both of these elements give the story an otherworldly feel; you feel as if you are watching a play, yet in certain scenes—most memorably the iconic cauldron-gazing one—the stage becomes the cauldron, as the three witches perch above Macbeth while he hears their prophecies.  Speaking of these witches, all three of them are played by Kathryn Hunter, and the result is both mesmerizing and scary.  They appear as ravens throughout the film, and yet they are anthropomorphic here.  It gives the tale vibes that feel deliberately drawn from Edgar Allen Poe, as those who heed their words descend into madness.

Shooting it in black-and-white gives each leaf, pool of blood, and pale moon distinct colors of their own.  Cinematographer Bruno Delbonnel (who also worked on the Coens’ films Inside Llewyn Davis and The Ballad of Buster Scruggs) really brings each frame to life.  He intended to “frame each shot like a modern-day Fritz Lang, composed for maximum disorienting impact and scale”.  The 1.37:1 aspect ratio and color choice are intended to evoke The Passion of Joan of Arc. I would say that he certainly succeeded in his task. 

There are other actors here who I have not yet mentioned who also turn in great performances.  Brendan Gleeson (who starred in the Coens’ last project, The Ballad of Buster Scruggs) is King Duncan here; Harry Melling (of Harry Potter fame) plays his son Malcolm, prince of Cumberland; and Corey Hawkins (In the Heights, Straight Outta Compton) is Macduff, in what is easily the best performance of the supporting cast.

The further the tragedy unfolds and the Lord and Lady Macbeth unravel, the more McDormand proves once again what a phenomenal actress she is.  Both of these actors will undoubtedly get attention for their work come Awards season, yet this actress is even better here than in Nomadland earlier this year.  She begins the story with fierce determination, and then quietly becomes imprisoned in her own personal hell, in a journey that brilliantly parallels her husband’s.  Washington has a fierceness about his performance as well, but there’s much more of a violent obsession and sadness to it.

Does this well-made, critically acclaimed adaptation justify its existence?  On multiple fronts, I am happy to report that it does.  Joel Coen has provided us with a terrific film, once again collaborating with McDormand.  However, you should heed my warning now: temper your expectations.  Do not go into this movie expecting the masterpiece that so many have made it out to be.  It’s not even the best movie to come out this year. I do miss what Ethan brought to the table. Nevertheless, this is a great adaptation of a timeless classic.

Note: Die-hard Coen brother and Shakespeare fans may want to rush out and see this on the big screen, but it’s okay to wait for streaming. It somehow seems more suited for that medium, anyway.

In select theaters December 25th and streaming on AppleTV+ January 14th, 2022.

Rated R

1 hour, 45 minutes