The Tragedy of Macbeth

"O Brother where art thou?," might snarkily pop into your mind when you learn that last year's THE TRAGEDY OF MACBETH was adapted and directed by only one Coen brother.  I read that Ethan did not feel inspired to join with Joel on this journey, one that seems a bit of a surprise project for one of the quirkiest minds to hit the cinema over the past forty years.  Would Joel Coen offer a contemporary take on William Shakespeare's centuries' revered work? If not, what would be the point of another adaptation? Especially from an artist as singular as Mr. Coen?

This is a straight re-telling.  Abridged enough that even the Cliffs Notes contingent can get through it.  Abetting that will be the gorgeous monochrome cinematography by Bruno Delbonnel, who takes a bid from the films of Fritz Lang and Ingmar Berman.  The fascinating geometries of Macbeth's castle, shown in imposing shadows and filtered lighting make for a moving work of art that can be appreciated on their own.   Even if separated entirely from Shakespeare's words, which may be akin to gibberish to many 21st century ears.

I have been a fan/admirer of the works of William Shakespeare since high school, when getting through his plays required real work.  They still do, but my acquisition (somewhat) of life wisdom and exposure to much literature since that time has made a delve into his tragedies, comedies, and sonnets an unequivocal joy.  The words are music, enlivening familiar plots of regicide and revenge.  Of politics and existential musings.   I needn't rehash the events of Macbeth's rise and fall.  If you are not familiar you really should read the play first, though it is possible that Coen's film will serve as a decent primer for Bard agnostics. 

Denzel Washington and Frances McDormand bring urgency to the roles of MacBeth and Lady MacBeth, more than the film itself has.  Odd.  THE TRAGEDY OF MACBETH has an unexplainable, almost easy going style to it, which only resembles a Coen Brothers film in a few insert shots and via the return of Carter Burwell to provide a score, one that is dissonant in moments.  As good as Denzel (who has done his share of Shakespeare) is, I wasn't entirely convinced by his portrayal, and at times it seemed like I was watching more of an ambitious screen test than a performance.   McDormand, who played the role on stage (and of course you realize is also Lady Coen), nicely underplays most of the time, even during her bravura delivery of the "Unsex me" soliloquy. 

Joel's decisions - the utter artifice of the production (everything shot on a soundstage), the yesteryear film aspect ratio, and the emulation of German Expressionism, lead to an agreeable, often striking solo experiment.  It is a beautiful film to look at, and well worth seeing.  But in the end it felt little more than a one off, an asterisk in a remarkable career.