'In his first solo outing, Joel Coen sets 'Macbeth' in a ravishing old-movie world that envelops the audience, as Denzel Washington and Frances McDormand take a desperate stab at power,' writes Owen Glieberman.
a director as anyone from the independent film world of the last four decades.
At different points, the look of “The Tragedy of Macbeth” will recall a silky foreboding film noir, a Val Lewton horror film, a Sirkian soap opera, the cloistered dreamscapes of Ingmar Bergman’s “The Seventh Seal” and Carl Theodor Dreyer’s “Ordet,” the fascist hellscape of Orson Welles’ “The Trial,” the hallowed glow of “The Chronicle of Anna Magdalene Bach,” the operatic catacombs of “Ivan the Terrible,” and Welles’ 1948 version of “Macbeth.
You can, if you choose, view the character of Macbeth as a man whose ambition turns him into a monster, but, with close-cropped silver-flecked hair that seems to merge with the film’s design, plays him as an outwardly gregarious corporate weasel, all too relatable in a slightly crestfallen middle-aged way. Washington, as an actor, has always been a bit of a declaimer; he hardly needs Shakespeare to show that side of himself.
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