Joel Coen’s first venture without his brother is the latest reincarnation of William Shakespeare’s classic play. The Scottish play was first performed 415 years ago and has since been adapted multiple times since its stage premiere in 1606 when King James ruled. Even the word “Macbeth” is strictly Taboo in theatres as it’s believed to bring bad luck or even disaster as according to folklore, the play’s history of bad luck began with its first perforce in 1606 when the actor scheduled to portray Lady Macbeth died suddenly, so Shakespeare himself was forced to replace him.

Then in another 17th-century production held in Amsterdam, the actor playing King Duncan was allegedly killed in front of the live audience when a real dagger was used instead of the stage prop during stabbing scenes.

The Tragedy of Macbeth tells the tale of a Scottish Lord convinced by a trio of witches that he will become the next King of Scotland, and his ambitious wife supports him in his plans of seizing power.

Coen provides masterful direction along with a technical achievement in filmmaking with a level of artistry rarely achieved in films, and it’s certainly one of the best Shakespeare adaptations. Coen also covers ground that was formally walked upon by Orson Welles, Akira Kurosawa, Roman Polanski and recently in 2015 Justin Kurzel. however, Coen surpasses them with his German expressionistic style which felt stark and severe as the noir aspects with the blades of light displayed onscreen by Coen and cinematographer Bruno Delbonnel. It’s theatrical and cinematic all rolled into one as it’s shot in black-and-white with a 1:33:1 aspect ratio that harkens back to the end of the Silent picture era. The frame is a neatly pictured square that is also reminiscent of classic Hollywood and truly evoked the filmmaking style of that golden age.

The film drops us instantly into a realm that reveals in the eeriness, ethereal and otherworldly which showcases the text becoming a provocative backstabbing historical epic that carries along with manipulation, soaring anger, and ambition and prophecy that embeds itself throughout the film creating stages of madness in each sequence further showcasing the loudness of power and how it succumbs you.

Fog and smoke obscure this silvery landscape as lights cast harsh shadows and silhouettes. The sets are stark and minimal and fade into each transition from one scene to the next which felt similarly theatrical as if watching sets being moved and repositioned on a stage, in fact, the Macbeth was filmed entirely on sound stages which also provides a hybrid between film and theatre and ultimately gives the film a dreamlike and hypnotic quality.

Many of the sets were built in sections and put together whilst relying on beautiful matte paintings to fill in the environments, which is also feels like another throwback to the multi-plane ingenuity reminiscent of Citizen Kane.

The score by Carter Burwell also plays a part in this Shakespearean story as he delivers a genre-filled symphony that intertwines with the story as it serves the purpose of making the audience uncomfortable and essentially drives the story forward. He uses the dialogue himself as a melody.

The real component of what makes all the above work so remarkable is the cast, made up of an ensemble of incredible actors who’ve made their names both on stage and screen. Leading them are Denzel Washington and Frances McDormand. They truly bring the best of both worlds here as they understand what works for the camera. Washington is magisterial in the title role, he brings a vocal flavour to the dialogue and he beautifully shows Macbeth losing his ways. Though he also gives Macbeth a quality of vulnerability as he grows more desperate in covering his tracks.

McDormand (who also produces) meanwhile brings an element of desperation to Lady Macbeth’s ambition, as she grasps for power that has long eluded her. She is his hard-edged conspirator- turned madwoman.

The casting of Washington and McDormand both in their sixties truly brings a sense of stifled ambition and a generational power grab. Both have a familiarity with Shakespeare as having done adaptations of his work before and it truly shows how powerful and award-winning their performances truly are.

Then there’s Kathryn Hunter who astonishingly plays all the three witches who prophesy Macbeth’s ascension and doom. A physical performance with limbs contorted as she shapeshifts with twisted movements using a deep, booming voice which is sinister as their nature and motivations are unknown. Hunter’s character is the first witch we meet and she brings this world of supernatural dark magic to life as she manifests her gaunt form into a trio of shrouded silhouettes. Hunter’s physicality and presence are utterly captivating.

The other actors are well cast and truly bring their skills to Shakespeare’s work. From Brendan Gleeson’s quietly prestigious King Duncan to Corey Hawkins’ Macduff, an antagonist fired by the youthful integrity and then vengeance. Carvel’s Banquo felt very sympathetic whilst Alex Hassell portrays the nobleman Ross with intrigue.

Overall every element of the Tragedy of Macbeth, from the hard, cold furniture to the swirling crows and drifting fog. The film truly gets to grips with the tales dark emotions as it’s one of the best adaptations of Shakespeare’s work I’ve seen recently.