The Tragedy of Macbeth shouldn’t work. Joel Coen has such a distinctively modern sense of style and pacing. Macbeth has been adapted dozens (if not hundreds) of times. What’s new to say with the Scottish play?
Unexpectedly, however, The Tragedy of Macbeth doesn’t just work; it glows.
Part of this stems from the unexpected visual style of the film. Filmed in black-and-white, Coen presents something that calls to mind the hazy dream of a staged production. The Tragedy of Macbeth uses few if any actual locations. Its sets are spare; fake, but evocative. Key action is pulled into the set design. Macbeth’s castle, for instance, has doors with distinctive doorknobs, sharp and gleaming silver. When it comes time for the famous “Is this a dagger?” monologue, Coen here repurposes it to Macbeth approaching the dagger-like doorknob, shining in the distance, with murder in his heart.
Interestingly, while it feels like the dream of a stage show, it is also distinctively cinematic. The Tragedy of Macbeth is all sharp angles and stark shadows. It evokes the memory of German Expressionist film. A number of early Coen films are neo-noirs, a genre that pulls heavily from German Expressionist film. Blood Simple, The Man Who Wasn’t There, even Barton Fink all pull from these traditions. In recent years, the Coens have leaned more towards the Western, another staple of classic Hollywood. The Tragedy of Macbeth lets Joel revisit the inspirations of his earliest films, while staying true to his current obsession with old Hollywood grandeur.
Despite being shot on soundstage sets, The Tragedy of Macbeth rarely feels stagebound. Whenever supernatural elements invade the film, Coen amps up the tension between the dreaminess of the physical location and the physicality of the supernatural ones. Kathryn Hunter, a well-known stage actress, plays the witches at the heart of the show, and her lanky contortionist’s body is uncomfortably grounded, rigorously posed, in the dreamscapes that surround her. This is hands-down the best and most interesting handling of the Witches I’ve seen. Every seen she appears in is a visual treat.
Really, The Tragedy of Macbeth stacks its cast from start to finish. Performed badly, Shakespearean dialogue feels frustratingly obtuse to modern ears. Performed well, however, the melody of the dialogue sings while the performances evoke the emotion needed to solidify meaning. There isn’t a weak link in the show, but special notice has to go to Denzel Washington. He brings a burly physicality to the role that belies his age. Macbeth, we are to believe, is a recent war hero; Denzel knows how to play that. He fights with brutal confidence. Denzel has swagger that few stars can match, but for much of the film he holds it in reserve. When it comes out, though, it is remarkable.
I went into The Tragedy of Macbeth intrigued but uncertain. I kept asking myself: What is new to say with Macbeth? I’ve seen great actors perform this material before. I’ve seen lavish productions and subtle ones and modern adaptations.
I came out of The Tragedy of Macbeth, though, a true believer. Coen amps up the tragedy of Macbeth to a point where it verges on horror in a way I didn’t expect. The material is familiar. The style is distinctively Coen’s own.