The Tragedy of Macbeth 2021 123movies

Watch: The Tragedy of Macbeth 2021 123movies, Full Movie Online – As ghastly witches prophesy that Macbeth, the Thane of Glamis, will soon become the King of Scotland, ambitious Lady Macbeth prompts her husband to act. So, to speed things up, conflicted Macbeth seizes the opportunity, and as blood stains his hands, the throne is his for the taking. However, murder is an unbearable burden, and before long, rabid paranoia blackens the conscience and imperils the sanity of the cursed couple. Now, only death awaits. Can a mere mortal escape fate?.
Plot: Macbeth, the Thane of Glamis, receives a prophecy from a trio of witches that one day he will become King of Scotland. Consumed by ambition and spurred to action by his wife, Macbeth murders his king and takes the throne for himself.
Smart Tags: #murder #death #ambition #plot #treason #period_drama #tragedy_drama #timeframe_post_classical_history #the_scottish_play #scotland #horse #historical_fiction #based_on_shakespeare #husband_wife_relationship

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Ratings:

	7.1/10 Votes: 33,938
	93% | RottenTomatoes
	87/100 | MetaCritic
	N/A Votes: 526 Popularity: 16.729 | TMDB

Reviews:

FULL SPOILER-FREE REVIEW @ https://www.msbreviews.com/movie-reviews/the-tragedy-of-macbeth-spoiler-free-review

“The Tragedy of Macbeth is a mesmerizing technical masterpiece that could have benefited from a distinct take on the well-known Shakespearean tale.

Denzel Washington demonstrates his insane talent, as does Frances McDormand, but the former clearly stands out in a more energetic, captivating performance, powering through intricate, long monologues, which may very well result in yet another successful awards season.

Joel Coen offers his bold direction to an unsurprising, too familiar narrative, but the rest of the technical crew transforms a streaming flick into an authentic cinematic experience.

With some of the most exquisite cinematography of the century, Bruno Delbonnel staggeringly elevates every other filmmaking component (sound, costumes, sets, production design), making this a must-watch movie, whether at home or, better yet, at the theater.”

Rating: B+

The Tragedy of Macbeth is so damn good I’m not even going to question the logic, or lack thereof, of an African-American eleventh-century Scottish nobleman.

Then again, Laurence Olivier and Orson Welles both played Othello, and if Denzel Washington isn’t in the same league as those two, he’s as close as any living actor could be.

Like Welles, Washington projects an authoritative screen presence that successfully challenges our expectations and perceptions of the character’s appearance, while satisfying its psychological requirements.

The actor, a master of juggling physical power with mental instability (cf. Training Day; impeccably illustrated here in a scene where, emboldened by the prophecy that “none born of woman shall harm Macbeth,” he confronts, unarmed, a sword-wielding soldier and gets the best of him), inhabits, or rather is inhabited by Macbeth’s madness so completely that the question of skin color becomes irrelevant.

And Frances McDormand, who has as of late become something of a cross between Forrest Gump and a pit bull, was simply born for the role of Lady Macbeth; when she asks the “spirits that attend mortal thoughts” to de-sexualize her, it’s not hard to believe that the request has been immediately granted.

Arguably no other actress could credibly impose her will on Washington, as when she tells him that “My hands are your color [i.e., red with King Duncan’s blood], but I would be ashamed to wear such a white heart” (a phrase which, given the circumstances, takes on a whole new dimension). At the same time, McDormand can summon a world of fragile vulnerability with a single look.

Director Joel Coen, who adapted Shakespeare’s play himself, knows the words and the music. The filmmaker deserves a lot of credit for not modernizing the material (which may or may not have anything or everything to do with his brother’s conspicuous absence); he and Ethan have made a career of being iconoclasts, but Macbeth demands reverence, and this is exactly what Coen brings it.

His fidelity to the text (speaks volumes of his artistic integrity that he left the line “liver of blaspheming Jew” intact), Bruno Delbonnel’s superb black and white cinematography, the lighting, the compositions, the costumes by Mary Zophres, the production design by Stefan Dechant, absolutely everything denotes an absolute devotion to the Bard’s vision.

Even its accessible 105-minute length — to put it in perspective, Kenneth Branagh’s Hamlet is 242 minutes long (and worth every minute) — is not a commercial concession (Macbeth is one of Shakespeare’s shortest plays).

Coen does not settle for standing on the shoulders of giants, though (the cyclopean set seems inspired by Welles’s 1948 version, and Dunsinane looks every bit the impregnable fortress it’s meant to be); the universal and timeless words of the original author are matched by the director’s singular visual sensibility — of which one of my favorite examples is the “Is this a dagger I see before me?” soliloquy, cleverly shot as Macbeth traverses a corridor leading to Duncan’s room, the door handle shaped like a dagger.

The Three Witches are another stylistic triumph, but then I could say that of the entire film, which has the potential to challenge Polanski’s version as the ultimate cinematic Macbeth.

Which grain will grow, and which will not
Edit: given the large fraction of user reviews condeming this film’s casting due to the race or nation of the actors, I find it now necessary to preface my review by disagreeing with anyone advancing those claims. If anyone condemning it is doing so in good faith, I would urge them to consider the following:

1) Having studied the writer cover to cover, I can tell you that the overwhelming ethos of the writer’s works is outward-looking/cosmopolitan, playful, humanistic, and above all skeptical of any received knowledge (such as “Shakespeare must be done this way and can’t be done that way”). It is a well-established tradition that productions of Shakespeare (and other classical theater/opera) on stage and screen need not always emphasize historical accuracy, but that productions can pick different aesthetics and themes to explore in different productions, and pick times/places real or imagined in which to set a given production. This is well established both in England and around the world. It’s generally agreed that today’s sense of reimagining Shakespeare’s work (and other classical theater/opera) is itself an act of respect and reinvigoration for Shakespeare as one of the most esteemed writers in history and part of our shared cultural heritage on this planet. The majority agrees that producing Shakespeare playfully is part of what keeps the works alive, and from descending into a renaissance faire or re-enactment of a single time and place with every production. I reject rejections of the universality of great cultural works, wherever they come from.

1a) Conversely there’s nothing wrong with a given production emphasizing history and place among other themes. There’s nothing wrong with either, and neither can do what the other does. But the writer himself hardly put historical or geographical accuracy above all else. There is no reason, outside of ideological horse blinders, to suppose that one or the other is forbidden.

2) Following from the above, it is generally agreed in England and around the world that actors can use their own natural accent to play their roles, and that the decision of characters’ accents is more a function of the above creative decisions (the setting, themes to explore and emphasize, etc.) than anything else.

3) I have utter contempt for any notion that humanity has such essential differences that groups should or must be hermetically sealed off from each other, and I reject it regardless of what ethos is supposed to require these divisions, who says so, their sob story or motivations. Specific to acting, we are far better off accepting any casting for any substantially decent reason (whatever the end result), than thinking of ourselves as fundamentally categorized and those categories as hermetically sealed. There is not always a particular reason to cast with freedom in this way above other competing virtues, but the arts across enough time have an impeccable history of disproving the rantings of cranks, puritans, ideologues and pearl-clutchers. Furthermore, it’s oil and water to compare casting classical works that have been produced thousands of times with casting works about people in living memory.

All that said, I’d like to review a movie in which the casting and acting in my estimation have problems for other reasons.

* * * * *

Breathtaking retro-formalism in Coen’s version of MacBeth is marred by miscasting and patchy acting.

Studio formalism (informed by Western film in the 30s and 40s, German expressionism, and pinches of Bergman), yesteryear’s 4:3 ratio, stark yet tasteful design and sets, and mid-contrast B&W all combine for a visually exhilarating version of MacBeth.

What might have been one of the greatest adaptations of Shakespeare on film fails to hold the throne due to some combination of acting and casting problems. It could be debated whether the problem is in the miscasting of Washington and McDormand as some have said; either Macbeth and Lady MacBeth cannot reasonably be characters in their sixties, or the pair aren’t right for the roles themselves, or Shakespeare at all- whatever else we can say about these two incredible actors, it is fair to say that not every actor can play every role and style. Or, it could be debated whether there is no unity in the acting tones used across the performances.

There are a few acting flaws that I think are beyond debate, and they are intertwined. Most of the performances in Coen’s MacBeth fail to unfold Shakespeare for the modern ear, failing to capture the thoughts and feelings within the text. I think it can also be said that the changes in MacBeth and Lady MacBeth, particularly the strangeness they both find themselves in and wind themselves up into, are not rendered in the performances. It pains me to conclude this on a project by one of my favorite directors, but I fear that the acting is more often that not too high-paced and general, and generalized acting is the absolute death of Shakespearean language on stage or screen. One could speculate further on the possible disconnects between what Shakespeare and Joel Coen each do well and why the combination did not bear fruit, but since I deeply admire both in their own right, I will leave off with a sigh.

Complex dialogue but very well made by Joel Coen
I didn’t realize how brilliant this play/story is as complicated as the bulk is it’s extraordinarily made and flows well. My mom couldn’t finish cause she didn’t understand it that’s kinda fair the performances are phenomenal and cinematography is perfect! Well deserving of the award nominations. I’m not sure what else to say except The Tragedy of Macbeth is glorious in thy presentation!

Sorry if it makes a difference I have autism I might not be best at describing things but the movie is fair to understand a portion.

Other Information:

Original Language en
Runtime 1 hr 45 min (105 min)
Budget 0
Revenue 0
Status Released
Rated R
Genre Drama, Mystery, Thriller
Director Joel Coen
Writer Joel Coen, William Shakespeare
Actors Denzel Washington, Frances McDormand, Alex Hassell
Country United States
Awards Nominated for 3 Oscars. 19 wins & 110 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Atmos, Dolby Digital
Aspect Ratio 1.37 : 1
Camera Arri Alexa LF, Cooke S7/i and Fujinon Premista Lenses, Arri Alexa Mini LF, Cooke S7/i and Fujinon Premista Lenses
Laboratory Technicolor PostWorks NY (picture finishing services provided by), Warner Bros. Motion Picture Imaging (dailies by)
Film Length N/A
Negative Format Codex
Cinematographic Process ARRIRAW (4.5K) (source format), Digital Intermediate (4K) (master format), Dolby Vision, Spherical (source format)
Printed Film Format D-Cinema, Video (UHD)