Joel and Ethan Coen officially debuted with easy blood (1984), but they wore making homemade movies together since they run through a suburb of Minnesota, that Orthodox Jewish environment that reflected in a serious type (2009).
They seemed indisociable, almost Siamese.
And yet, MacBeth, who premieres at Appletv and in some select cinemas on January 12 with views of Los Oscar, is Joel’s first solo adventure, the older one, with 67, of the Coen.
Starring Denzel Washington and Frances Mcdormand, wife of the director, this new version of William Shakespeare’s work so many times taken to the cinema, teleports us to the cinema-clubs of the 70s. Filmed in hypnotic black and white, and in format almost
Square, refers both expressionism and the adaptations of the classic rolled by Orson Welles or Akira Kurosawa.
The COEN version sticks to the original text, although in a refined key, as minimalist as the naked decorated of an entirely shot under study, as sophisticated as ostentatious stone cardboard.
This theatrical Macbeth also has some paradox, because the Coen separated because Ethan wanted to recover his career as a dramatist and theatrical director, which he reactivated with the premiere of Play Is a poem in a pre-pandemic angels.
The first precipitated conclusions to which we could address are that Ethan is the funny brother, and that Frances Mcdormand is the Yoko Ono of the band.
The veteran actress, who received his first Oscar for Fargo (1996), was already Lady Macbeth on the tables makes a lustro, experience that was half a happy and perhaps possessed by that black lady who convinced her husband to kill the king,
Incarnate by the Irish Brendan Gleeson in the film.
Joel says he misses Ethan, but that, when he looked where he was, there he had Frances, who first produces her husband.
And what Ethan is the funny?
The raised humor of the Coen shines by the absence of him in Macbeth.
Do not expect or the laughter of the Great Lebowski (1998), nor a dissonant element such as the Hairstyle Pan, to the Prince of Beukelaer, by Javier Bardem in the terrifying is not a country for old (1990).
Here the most disturbing factor are those three witches to which he puts a contortionist and unforgettable Kathryn Hunter.
Among the novelties, more than the skin of Denzel Washington – it is not the first black Macbeth, and was already in a lot of noise and few nuts in 1993-, there is the age of the couple.
If Marion Cotillard buried a dead baby at Justin Kurzel Macbeth (2015), Mcdormand is a post-menopausal Lady Macbeth, and that is also a sign of times.
There will be the one who wonders if another Macbeth was missing, however impressive that this is, and the question is answered alone: There are still no neo-tyrants eager to perpetuate himself in power, although well it is true that it is difficult to imagine them tragic and hoarse for remorse.
