THE TRAGEDY OF MACBETH: Joel Coen’s Striking Solo Debut

I was lucky enough to attend the UK premiere for the new A24 feature by renowned filmmaker Joel Coen at the BFI Film Festival this October. I sat behind Frances McDormand as I watched her dominate the screen as Lady Macbeth in her husband’s first directorial endeavour without his brother and long-time collaborator Ethan Coen, by his side.

Before the screening, Coen took to the stage to say a few words. The way in which he acknowledged his brother’s absence and introduced McDormand was a deeply heart-warming moment: “Fran played Lady Macbeth when she was 14. I asked her if she would do it one more time – if she would be my Lady Macbeth”. Their relationship has always been one to admire, and being able to witness their devoted bond in the flesh is something I’ll hold dear for a long time.

William Shakespeare’s Macbeth (or The Scottish Play if you’re superstitious), is a story known by most. Even if the play isn’t familiar, the name certainly will be. Shakespeare created a text so beloved and versatile that it has spawned countless interpretations across the stage and all media. I reviewed Justin Kurzel’s adaptation back in 2015, and since then there have been several distinguished interpretations and spinoffs in theatre and film.

So the big question is: what can Joel Coen bring that’s new?

Thy story quickly

For the few who aren’t familiar with the rise and fall of Macbeth: The story begins when Macbeth and Banquo – his loyal friend, are visited by 3 witches who deliver 3 self-fulfilling prophecies: Macbeth will become Thane, King and Banquo will father kings. Obsessed by these predictions after Macbeth naturally becomes Thane, he and Lady Macbeth partake in foul play so he can become king by murdering the current ruler, King Duncan.

The Macbeth’s plot to kill Banquo and attempt to kill his son to prevent future reign. The witches soon deliver more prophecies, warning Macbeth of Macduff (Thane of Fife and supporter of Malcolm – Duncan’s son) and that no man woman born can harm him.

The Macbeth’s spiral out of control, see apparitions and kill more supposed threats, which ultimately leads to the demise of Lady Macbeth who is now riddled with guilt. Macduff inevitably comes for Macbeth and kills him because surprise… he was born via caesarean.

Life’s but a walking shadow

In Joel Coen’s adaptation starring Denzel Washington, Frances McDormand, Harry Melling, and Brendan Gleeson, the most striking and blatant difference that visually separates his version from the rest is that it’s in black and white and shot in 4:3 aspect ratio (a huge contrast to Kurzel’s interpretation whose battle sequences roar with burning reds and oranges).

The light is constantly at war with the dark which merges into a metallic silver/grey, creating beautiful binary opposition. Coen’s silver world is symbolic of mystery and illusion, which is an overarching metaphor for the central themes and apparitions.

Scenes feel cold, isolating, and uncomfortable as the set is minimalist and unhomely, which contributes to the striking and visceral cinematography exquisitely shot by Bruno Delbonnel. Each frame is a disturbing work of art. Our focus is predominantly on the actors and the actors alone as they stand in empty, white, almost heaven-like spaces, or are besieged by grand architecture which brings a sense of traditional theatre to the film, paying homage to the play’s roots.

The Weird Sisters

This adaptation notably puts the 3 witches into 1, a brave choice and one that definitely pays off. No doubt when Coen saw what the astonishing Kathryn Hunter could do, did he know he’d made the right choice. Hunter is a powerhouse in this role and is undisputedly the best thing about the film. Her deep, devilish voice vibrates through the audience (which made my hairs stand on end). I have goosebumps thinking back to it.

Hunter shapeshifts and contorts her body as crows swoop and fly overhead, igniting uneasy feelings. Her ominous movements are utterly fascinating, even more so as they are supported by brilliant sound design as her body cracks and crunches with each flinch.

Hunter is most commonly known in the film world for her small yet extremely comical role as Arabella Figg in Harry Potter and the Order of the Phoenix, which is coincidental as there is an air of Harry Potter about this film, aside from the fact Hunter, Melling and Gleeson have all starred in the franchise. Hunter’s contorting in her black cloak is synonymous with the shapeshifting Death Eaters – a delightfully witchy and magical touch.

O Scotland, Scotland!

Before the premiere at the British Film Institute, Coen stated that “Shakespeare belongs to the world but comes from Britain” – which is, of course, true, and can also be reflected in the different dialects within this interpretation. There isn’t a Scottish accent to be heard throughout as actors speak in their mother tongues; Washington and McDormand bring in the American, with others harnessing the English and Irish, capturing the communal inclusivity of Shakespeare which Coen speaks of.

It could also be said that this mix of accents somewhat throws the audience; Shakespeare’s vernacular spoken with a strong American accent following on from an English monologue spawned some laughs from the audience at times (especially when Lady Macduff’s son converses during one of the more upsetting scenes within the film).

As the minimalist design of the set does not ground the film to any specific location, it emphasises Coen’s universal intention which is incredibly effective visually, however it debatably falls short when this idea is exercised through various dialects, especially when telling a dark tragedy. Dialect aside, there’s something so refreshing about Washington and McDormand – two huge Hollywood icons taking on a story so integral to British culture.

False face must hide what the false heart doth know

While some performances truly shone such as McDormand’s (and Hunter’s), some didn’t quite deliver – Corey Hawkins’ (Macduff) being one of the more memorable frustrations. When he discovers his entire family has been brutally murdered, he is seemingly okay about it. There were a few key moments in this film where expressions were odd and emotion was not felt, which slightly dilutes the power of the scene.

Gleeson’s role as King Duncan felt oversimplified and immature – a directorial decision which once again aligns more with theatrical comedy as opposed to tragedy, (then again comedy and tragedy are 2 sides of the same coin) and Macbeth/Washington’s supposed momentous death didn’t pack the punch one would wish for. Yes, he somewhat accepts his demise, but the scene as a whole doesn’t crescendo the way it should for a final battle sequence. This film is undoubtedly strong, which is why the weaker links stand out.

Alex Hassell makes a daunting career leap in this film and it definitely pays off. Hassell is mainly known in the theatre world and for small roles in British sitcoms/other films and TV shows that don’t receive much attention. I grew up seeing his face in the background of my television, so to now watch him play such a key role in a Coen movie is wonderful to see. The Tragedy of Macbeth is undoubtedly his pinch-me moment.

All hail Macbeth, that shalt be king hereafter!

Out of the countless productions of The Scottish Play that exist, Coen definitely brings something new to the table. The cinematography, sound design, and fresh take on the 3 witches are the most notable successes that separate this film from the rest. Coen presents a theatre-film hybrid; the old blends with the new by retaining traditionalist elements while reviving the visual to give audiences a new lens for this classic tale of tragedy.

If it were to be compared with the 2015 adaptation, I still believe Kurzel’s version starring Michael Fassbender and Marion Cotillard holds the crown for the best adaptation to date, however, Coen’s version is a very close second and presents a lot to think about. It truly is an excellent solo debut and one that everyone should see. By the pricking of my thumbs, something wicked this way comes… On Apple TV late January.

What are your thoughts and feelings on Coen’s interpretation? Share your thoughts and comments!

The Tragedy of Macbeth will be released in theatres in December 25, 2021. For all international release dates, see here. 

Watch The Tragedy of Macbeth