When some work of William Shakespeare is presented as a film it's only natural to assume some grand vision, whether it's a notable stage production that was professionally photographed, or a huge cinematic production with discrete filming locations, extras, stunts and effects, and so on. It's somewhat refreshing to see a rendition of the Scottish play that reflects the exact opposite: a work of theater of modest means but earnest intent, from a group with no especial renown, captured on film for posterity. With very simple sets and costume design, capturing the barest essence of 'Macbeth,' it's safe to say that this interpretation is indeed modest; moreover, this is not an instance in which the players are especially concerned with adopting accents befitting the original setting. The play is four hundred years old, and New York's Stag & Lion Theatre Company was only founded in 2012 - but none of this is to suggest that the troupe can't succeed so long as their hearts are true. To be sure, 'A cursed film' may not find favor with those who have difficulty immersing themselves in the less grandiose iteration, yet despite its nature, or perhaps even partly because of it, I think there's admirable strength here that demonstrates both the enduring power of The Bard's classic, and the skill and pure sincerity of Stag & Lion.
Keep well in mind that when we observe the company to hail from New York, this is certainly not Broadway, but more like a community theater that neither desires all the proverbial bells and whistles, nor can afford them. Emphasizing the point, most everyone who appears in front of the camera also performs one or more roles behind the scenes, too, including not least Josh Koehn and Chelsea LeSage who both star as the Lord and Lady and direct, and serve other functions. With this in mind, it is a tad awkward when this picture chooses after all to insert some embellishments that run contrary to the otherwise straightforward presentation: mood-setting music and environmental sound effects, possibly, and definitely rapid flashes of imagery in some select instances. I don't mind the former, and they even help to foster our immersion as spectators, but on the other hand, the latter are an unnecessary, somewhat gauche step too far. One might also note that the first minutes of the feature are a weak start, for even as the chief stars direct there is at the outset a distinct paucity of the passion and vibrancy that broadly characterizes 'Macbeth.' Suffice to say that even if we viewers are ready and willing to engage with a title that wishes to define itself strictly by its substance, and not any style, there are qualities here that may reasonably be debated, and perhaps imperfections.
Maybe all this is beside the point, though. Even if it's a slow start, and even if some choices may be disputed, and even if this isn't the most outwardly impressive iteration of the play, the unadulterated honesty of Stag & Lion's staging may at length be a cornerstone of its value. After all, when Shakespeare's works were first performed at the Globe Theatre centuries ago, it's not as if the company of the past would have had the benefit of every most eye-catching odd and end. Like their forebears, the players here rely only on the strength of the beloved material, and on the ardor that each brings in turn, to capture the audience's imagination - and by Jove, they succeed. If at first the utmost fire seemed to be missing from this 2021 production, it manifests naturally in due course, like a small flame that requires only sufficient fuel to burn more heartily. The weight, force, and potentiality of the story and verses are never in question, and as the tale picks up, Koehn, LeSage, and their co-stars all very reliably "stand to" themselves. What the saga of prophecy, ambition, conspiracy, and murder lacks here in terms of wholesale spectacle, it makes up for with dark airs and ever-growing intensity that's borne solely from the stark, buzzing electricity and nuanced emotions of the actors' performances, bolstered by keen use of lighting and sound cues. The cast here may not be recognizable household names, yet they more than prove their worth where it matters.
True, some of the acting is better than other instances. There are some small choices of delivery, or of direction, or of sparing ornamentation, that raise a bit of a quizzical eyebrow. On the other hand, there are also some moments - such as the beginning of Act IV, when Macbeth returns to the weird sisters - that are downright superb in how they were executed. LeSage's performance of Lady Macbeth's big scene in Act V is harrowing and haunting, and in my mind unquestionably one of the best versions thereof that I've seen! Whatever else is true of this 2021 endeavor I don't think anyone could say that it's flawless, but its weaknesses are far outweighed by its highly laudable virtues. Why, in whatever measure one might say that 'A cursed film' is uneven, all told it's more consistent than many other productions (stage and cinema alike) that have had much bigger stars and financial backing. As one major example, I have no qualms in saying that as far as I'm concerned Stag & Lion's feature boasts better performances and greater vitality, and is overall more striking, than even Justin Kurzel's 2015 movie for StudioCanal whose all-star cast included Michael Fassbender and Marion Cotillard. If that isn't a high compliment for this effort, which did not impress out of the gate, then I don't know what is.
No, it's not perfect, but it's roundly excellent. It may not look like much in the basic visuals to greet us, and not every decision made herein is one that I think was best, but I can only repeat that the strength of the acting speaks for itself. In general this title shines more brightly than no few more noteworthy affairs, and in those moments when the company latches onto a particular stroke of brilliance - a scene, a shot, a single performance - the outcome is altogether chilling in the best of ways. From Koehn and LeSage down to those in smaller parts like Katrien Van Riel (Siward) or Gail Shalan (Lady Macduff), most everyone here does a fantastic job. I can understand how this won't appeal to all comers, and still, in every capacity, the sum total stands firmly on its own feet. There remain other renditions of 'Macbeth' that I'd suggest more highly, but so long as one is open to the more unassuming presentation, in my opinion this is an interpretation that's well worth checking out. The first impression may have been middling, but when all is said and done the last impression 'A cursed film' left me with was marvelous indeed, and I'm happy to give this my hearty recommendation!
Keep well in mind that when we observe the company to hail from New York, this is certainly not Broadway, but more like a community theater that neither desires all the proverbial bells and whistles, nor can afford them. Emphasizing the point, most everyone who appears in front of the camera also performs one or more roles behind the scenes, too, including not least Josh Koehn and Chelsea LeSage who both star as the Lord and Lady and direct, and serve other functions. With this in mind, it is a tad awkward when this picture chooses after all to insert some embellishments that run contrary to the otherwise straightforward presentation: mood-setting music and environmental sound effects, possibly, and definitely rapid flashes of imagery in some select instances. I don't mind the former, and they even help to foster our immersion as spectators, but on the other hand, the latter are an unnecessary, somewhat gauche step too far. One might also note that the first minutes of the feature are a weak start, for even as the chief stars direct there is at the outset a distinct paucity of the passion and vibrancy that broadly characterizes 'Macbeth.' Suffice to say that even if we viewers are ready and willing to engage with a title that wishes to define itself strictly by its substance, and not any style, there are qualities here that may reasonably be debated, and perhaps imperfections.
Maybe all this is beside the point, though. Even if it's a slow start, and even if some choices may be disputed, and even if this isn't the most outwardly impressive iteration of the play, the unadulterated honesty of Stag & Lion's staging may at length be a cornerstone of its value. After all, when Shakespeare's works were first performed at the Globe Theatre centuries ago, it's not as if the company of the past would have had the benefit of every most eye-catching odd and end. Like their forebears, the players here rely only on the strength of the beloved material, and on the ardor that each brings in turn, to capture the audience's imagination - and by Jove, they succeed. If at first the utmost fire seemed to be missing from this 2021 production, it manifests naturally in due course, like a small flame that requires only sufficient fuel to burn more heartily. The weight, force, and potentiality of the story and verses are never in question, and as the tale picks up, Koehn, LeSage, and their co-stars all very reliably "stand to" themselves. What the saga of prophecy, ambition, conspiracy, and murder lacks here in terms of wholesale spectacle, it makes up for with dark airs and ever-growing intensity that's borne solely from the stark, buzzing electricity and nuanced emotions of the actors' performances, bolstered by keen use of lighting and sound cues. The cast here may not be recognizable household names, yet they more than prove their worth where it matters.
True, some of the acting is better than other instances. There are some small choices of delivery, or of direction, or of sparing ornamentation, that raise a bit of a quizzical eyebrow. On the other hand, there are also some moments - such as the beginning of Act IV, when Macbeth returns to the weird sisters - that are downright superb in how they were executed. LeSage's performance of Lady Macbeth's big scene in Act V is harrowing and haunting, and in my mind unquestionably one of the best versions thereof that I've seen! Whatever else is true of this 2021 endeavor I don't think anyone could say that it's flawless, but its weaknesses are far outweighed by its highly laudable virtues. Why, in whatever measure one might say that 'A cursed film' is uneven, all told it's more consistent than many other productions (stage and cinema alike) that have had much bigger stars and financial backing. As one major example, I have no qualms in saying that as far as I'm concerned Stag & Lion's feature boasts better performances and greater vitality, and is overall more striking, than even Justin Kurzel's 2015 movie for StudioCanal whose all-star cast included Michael Fassbender and Marion Cotillard. If that isn't a high compliment for this effort, which did not impress out of the gate, then I don't know what is.
No, it's not perfect, but it's roundly excellent. It may not look like much in the basic visuals to greet us, and not every decision made herein is one that I think was best, but I can only repeat that the strength of the acting speaks for itself. In general this title shines more brightly than no few more noteworthy affairs, and in those moments when the company latches onto a particular stroke of brilliance - a scene, a shot, a single performance - the outcome is altogether chilling in the best of ways. From Koehn and LeSage down to those in smaller parts like Katrien Van Riel (Siward) or Gail Shalan (Lady Macduff), most everyone here does a fantastic job. I can understand how this won't appeal to all comers, and still, in every capacity, the sum total stands firmly on its own feet. There remain other renditions of 'Macbeth' that I'd suggest more highly, but so long as one is open to the more unassuming presentation, in my opinion this is an interpretation that's well worth checking out. The first impression may have been middling, but when all is said and done the last impression 'A cursed film' left me with was marvelous indeed, and I'm happy to give this my hearty recommendation!
