Thanks to countless interpretations and reincarnations, breathing new life into Shakespeare's Macbeth isn't an easy feat. Someone forgot to tell Justin Kurzel that.
Tackling the ancient story surrounding Macbeth, a Thane of Scotland, Kurzel opts to focus his attention on the visual beauty that surrounds the story of love, greed and power, a decision that is made clear through the first picturesque shot of our protagonist on the battle field during the film's opening moments. It is a sheer sight of undeniable beauty"”and if you aren't careful you'll get drunk on the enriching colors that fill the screen.
A disturbing sequence involving witches and a prophecy sets the narrative early, but you will often find yourself lost within the context of Shakespeare's words as you constantly drift into a trance, nearly blinded by the immaculate landscapes and unbelievable cinematography that continually distracts you from the dialogue.
The story progresses as both Macbeth and Lady Macbeth conspire to kill the King and stake their claim to the throne. The buildup is rather slow, as Kurzel takes his time introducing the characters and allowing the audience to process the monumental task the couple is undertaking in order to secure their rise to power. Throw in the authentic language that is preserved throughout this retelling and a stagnant derailment is created during the first act, one that will lose many viewers.
I understand the decision, and appreciate the amount of work put in to make the experience authentic; however, the fluidity is botched as a result. And for those who aren't big fans of the playwright or aren't entirely familiar with the story, they will be lost as they attempt to split their time between the dialogue and the imagery that is so brilliantly captured.
Both Michael Fassbender and Marion Cotillard give stellar performances, transforming themselves from loyal citizens to power hungry rebels within the film's rather unexpectedly short two hour runtime. Their chemistry is spot on from the onset, crafting a power couple that wants nothing more than to lead. And while Fassbender's mid-film transformation is more drastic than that of his counterpart, their cohesive portrayals are undeniably dynamic, offering up a forceful energy that will suck you into the story and offer up a unique sense of inclusion.
After the deed is done and Macbeth takes a tight grip on his new found control, much like his own mind, the film itself hits a roadblock. Unable to move forward with precision, Kurzel is requested to fill the minutes with story"¦a thought that doesn't appear to have been in the forefront of the young director's mind since the opening scene. Cotillard's Lady Macbeth keeps her moves subtle, ultimately making her a character to watch. Her deceit and cowardly maneuvers cannot distract you from her meticulously calculated plan. It is she who saves the film from falling apart at the seams, and her comfort on top makes you question just how big a role she had in the uprising.
Sadly though, neither she nor Fassbender can overcome the film's sluggish pace and drawn out final moments. The concluding sequence is epic, offering up a heroic fight amongst Macbeth and many of his enemies, but that one scene doesn't make Macbeth an epic film. It is gorgeous beyond words and worthy of a viewing, but sadly visual aesthetics will only carry you so far.
