His hair is graying. His nerves are fraying. Denzel Washingtons Macbeth is a man quite literally running out of time even before he meets those witches.
At 66, Washington is certainly at the older end of the spectrum of conceivable Macbeths. But it makes wonderful sense: In Joel Coens brilliantly conceived, brilliantly executed The Tragedy of Macbeth, we confront a man who knows in his bones his aching bones that the witches prophecy has given him his last chance to be that thing he wants, no, deserves! King of Scotland.
For an actor of Washingtons unique skill set, not to mention facility with Shakespearean verse, Macbeth at any age would be right, frankly. But theres something wonderful about the fact that it took this long, with all the experience and seasoning Washington now brings to bear. Still, this isnt simply a matter of an actor meeting a role at the right time.
No matter how cursed or unlucky the so-called Scottish play is in theater lore, the stars seem to be aligned here. First, the movie stars: As Lady Macbeth, Frances McDormand is a perfect partner in age (64) and every other way, adding her signature clear-eyed urgency and a few legendarily icy stares to an often caricatured role. And boy, do these two look right together. Maybe its true, as somebody said, that the Macbeths have the only good marriage in Shakespeare though the bar is not high. (Those teenagers Romeo and Juliet had a very short one.)
Completing the dream trio is director Coen (McDormands husband, in his first solo outing without brother Ethan), creating an austere and chilling yet gorgeous and stylish cinematic universe. Its a world in black and white and gray, full of fog, shadows and mist a chiaroscuro vision that seems half real, half fantasy.
Designer Stefan Dechants set, built onto sound stages, is populated by Brutalist-type structures, high walls, long corridors and tall staircases and dirt paths outside. The key sensation is emptiness: There seems barely a prop around except for swords, doing their vicious work. It feels vaguely medieval but unconnected to a specific period and thankfully not 2021, either. Most strikingly, Coen and superb cinematographer Bruno Delbonnel present a film literally wrapped in a box, in what they call an academy-ratio square frame.
As befits the bard’s briefest tragedy (albeit with a long list of murders most foul), Coens film clocks in well under two hours. We begin, as we should, with the three witches, and the ominous fair is foul, and foul is fair line meaning all is not what it seems, an understatement of Shakespearean proportions. In a terrific creative decision, Coen gives us only one actor, the wonderful veteran Kathryn Hunter, as a shape-shifting contortionist who morphs at will into three identical figures.
Despite a few judicious cuts, the language is preserved and the story is, of course, the same: After the witches prophesize that Macbeth will become king, he decides, propelled by the tough-love urgings of his wife (When you durst do it, THEN you were a man) to hasten the process by murdering much-loved King Duncan (Brendan Gleeson, excellent).
Washingtons Macbeth, who often speaks in a soft voice even a whisper is racked with indecision beforehand. But what if we fail, he asks. We fail? his wife replies, but in McDormands reading, its essentially, Look at us, what the heck do we have to lose? (Dont answer that, folks.)
And so the bloody cycle begins. This Macbeth is, as always, about politics, power, and the corrosive effects of ambition. It is not, however, about sociopaths. It feels more about mediocrity and the desperation that brings than monstrosity.
Theres much acting talent here beyond the leads. Corey Hawkins, a standout in pretty much anything he does, is a dashing presence as noble Macduff, who has the distinction of killing Macbeth (this swordfight doesn’t disappoint) once he apprises him that he was untimely ripped from his mothers womb very bad news if you’re Macbeth. As Macduffs doomed wife, Moses Ingram makes much of her one scene.
Washington, whos played Shakespeare onstage numerous times (and onscreen in 1993) recently said that its where I started, and where I want to finish. As a student at Fordham University, he played Othello, a role he prepared for by listening to recordings of Laurence Olivier in the library.
When he speaks of finishing, one hopes he isnt referring to anytime soon. After all, King Lear awaits right, Mr. Washington?
But as for his Macbeth, its McDormand who perhaps said it best when asked recently about casting the role. You dont make lists for a generations Macbeth, she said. One is born, and then they play it.
Sounds about right.
The Tragedy of Macbeth, an A24 release, has been rated R by the Motion Picture Association of America for violence. Running time: 105 minutes. Four stars out of four.
MPAA definition of R: Restricted. Under 17 not permitted without a parent or adult guardian.
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