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Don’t you just love it when a film surprises you? And I don’t mean a random cameo near the end, but a full on whack-over-the-head surprise in regards to plot and character development. That’s what 'Lady Macbeth' has in store for you. Let me set the scene.
The year is 1865. Somewhere in rural England Katherine (Florence Pugh) is married off to the son of the man who bought her alongside some land that apparently couldn’t feed a cow. Her husband doesn’t desire her and Katherine is forced to live out her life indoors with nothing to do. When her totalitarian father-in-law and husband take extensive leave from their home Katherine starts to come out of her shell. Coming to the rescue of one of her maids who had been assaulted by male grounds workers, Katherine takes a shine to the leader of the gang, Sebastian. A steamy affair ensues with Katherine’s adultery being her least offending infraction on her way to getting what she wants.
The year is 1865. Somewhere in rural England Katherine (Florence Pugh) is married off to the son of the man who bought her alongside some land that apparently couldn’t feed a cow. Her husband doesn’t desire her and Katherine is forced to live out her life indoors with nothing to do. When her totalitarian father-in-law and husband take extensive leave from their home Katherine starts to come out of her shell. Coming to the rescue of one of her maids who had been assaulted by male grounds workers, Katherine takes a shine to the leader of the gang, Sebastian. A steamy affair ensues with Katherine’s adultery being her least offending infraction on her way to getting what she wants.
'Lady Macbeth' would not be the surprising crowd pleaser it is without the captivating presence of lead Florence Pugh. She delivers an outstanding nuanced and subtle performance. Witnessing Katherine’s slow awakening and, by the end of the film, full on embrace of everything she is and is willing to do is a marvel to behold. This is Pugh’s first lead role and the entire film rests solely on her shoulders, yet she carries this responsibility with the natural confidence of more seasoned actresses. This young woman is one to keep an eye on.
Cosmo Jarvis does a decent job as Sebastian, but it is Naomi Ackie’s maid Anna who is the real counterpoint to Pugh’s Katherine. These two women tear up the screen whenever they’re in a scene together.
The production design and cinematography perfectly underline the bland existence Katherine is forced into. You hardly notice how the visual presentation influences your mood while watching her living her so called life. She is not even a bird in a golden cage. She’s a bird stuck inside an oxygen deprived house with all exits shut. The claustrophobia was so unbearable that I even forgave her falling for a man who assaults women. On the one hand I was grateful we didn’t have to witness this on screen, on the other I feel this was immediately dismissed as it would have influenced the audience more against Sebastian, who ends up being Katherine’s conscience. Conveniently inconsistent. That didn’t sit well with me at all.
Katherine’s story comes full circle as she smothers the last obstacle in her way, as she was smothered by life, her husband and father-in-law. Taking that final leap past her point of no return she emerges out of her cocoon a new woman. A beautiful butterfly. A deadly one.
Cosmo Jarvis does a decent job as Sebastian, but it is Naomi Ackie’s maid Anna who is the real counterpoint to Pugh’s Katherine. These two women tear up the screen whenever they’re in a scene together.
The production design and cinematography perfectly underline the bland existence Katherine is forced into. You hardly notice how the visual presentation influences your mood while watching her living her so called life. She is not even a bird in a golden cage. She’s a bird stuck inside an oxygen deprived house with all exits shut. The claustrophobia was so unbearable that I even forgave her falling for a man who assaults women. On the one hand I was grateful we didn’t have to witness this on screen, on the other I feel this was immediately dismissed as it would have influenced the audience more against Sebastian, who ends up being Katherine’s conscience. Conveniently inconsistent. That didn’t sit well with me at all.
Katherine’s story comes full circle as she smothers the last obstacle in her way, as she was smothered by life, her husband and father-in-law. Taking that final leap past her point of no return she emerges out of her cocoon a new woman. A beautiful butterfly. A deadly one.
The performances alone are enough to recommend this film. But when a film manages to play with your perceptions in the vain of 2005’s 'Hard Candy' it makes you think as well as enjoy what you see unfold before your eyes. And it is equally shocking, breath-taking and horrendous. Highly recommended.
Review by Melanie Radloff.
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