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At the heart of this is Marion Cotillard’s Lady Macbeth.Haunted by her dead child, her pale face is face riven with grief at the horror that her ambition has unleashed.
(Its nearest recent equivalent is the film The Exorcist, which is similarly plagued with rumours about catastrophes affecting its cast and those associated with it.) Both simple and malleable, this tragedy is open to endless interpretation.
The obsessions that lie at its heart will never be out of date, sadly.
At the end of Kurzel’s film, the sky turns orange with a fire storm as Great Birnam wood burns. It looks like the burning oil wells of the Gulf war.
Braveheart is a 1925 American silent contemporary western film directed by Alan Hale Sr. The story focuses on members of a tribe of Indians who are being intimidated by the owners of a canning company seeking to violate a treaty protecting the tribe's fishing grounds.
One of the hypnotic pleasures of the tragedy is the magnificent insubordination of Lady Macbeth, raging against the limitations of her gender.
In my own writing, this female subversion was a cue for a novel about her tragedy, rather than Macbeth’s.
Directed by Justin Kurzel, it’s a post-Braveheart affair, heavy on the mud and gore.
Marion Cotillard is wraith-like as his broken-hearted wife.
The witches – four, not three – appear on the battlefield at the start.
They are still and impassive in the midst of the mayhem, more like soothsayers than malevolent hags.