Lady Macbeth (2017)

Review

89min

Genre:       Drama

Director:    William Oldroyd

Cast:         Florence Pugh, Christopher Fairbank, Cosmo Jarvis…and more

Writers:     Nikolai Leskov and Alice Birch

-Synopsis-

Bought and effectively held prisoner by her domineering new older husband and his equally imposing father at their rural English estate, a young bride boldly breaks free of her chains and gives in to her urges with troubling consequences in this British indie period drama adaptation of Nikolai Leskov’s 19th century novel.

Don’t be misled by the title, ‘Lady Macbeth’ is not an adaptation of ‘The Scottish Play’ and shares little with it beyond a characterisation of a manipulative bride, although it could be described as 19th century pseudo-Shakespearean fare. Instead British director William Oldroyd’s feature debut is a darkly captivating adaptation of Leskov’s novella ‘Lady Macbeth of the Mtsensk District’—itself a morose and edgy Russian rendition of a Jane Austen or Flaubert narrative—a version of which has already been committed to celluloid in the form of Andrzej Wajda’s 1964 film ‘Siberian Lady Macbeth’.

Set in the rural 19th century North East of England, ‘Lady Macbeth’ stars promising up-and-comer Florence Pugh as ‘Katherine’; a seemingly demure young lady with a rebellious core, taken as a wife by the heir to a wealthy but hard-nosed and austere mining family ‘Alexander’ (Paul Hilton), and kept under the thumb of the estate’s patriarch ‘Boris’ (Christopher Fairbank). When the men of the manor leave on business, Katherine begins to remove her societal shackles and set her inner spirit free as she begins a passionate and sensuous affair with young stable-hand ‘Sebastian’ (Cosmo Jarvis)—setting in motion an obsessive relationship destined to unleash a darker side of her character, and lead to tragedy for the workers and residents of the household.

As a 150 year-old story of subverting female subjugation, with a contemporary resonance for a new era of female empowerment—it’s no surprise that Oldroyd’s debut made waves at the Toronto and London film festivals late last year, and has been garnering praise ever since, but thankfully this stark and seductive indie piece truly merits the hype. Not only is this a dark female-first narrative full of sensuality and intrigue, but one which also subverts the British costume drama by casting black actors in roles you would never expect to see them in—bringing colour to a typically white-only cinematic palette . . . and no doubt irking historical purists along the way.

Yet ‘Lady Macbeth’s’ success lies in its depth and the atmosphere it creates, this more than just a progressive period piece or a historical feminist parable about empowerment and smashing the patriarchy. Katherine proves to be a nuanced and layered character whose predicament makes her an initially relatable heroine as she comes into her own, before obsession and ego begin to muddle her morality and she becomes more difficult to empathise with . . . and eventually a real challenge to feel sympathy for.

With very limited resources to work with, Oldroyd and novice indie cinematographer Ari Wegner get the best out of some impressive costume design, local landscapes and limited Northumberland period locations, creating a hazy and fittingly melancholic aesthetic which pays tribute to the story’s Russian origins, all perfectly complimented by a score from Dan Jones (Max, Shadow of the Vampire).

The responsibility for film’s success ultimately falls on the young shoulders of its star, and Pugh truly is a revelation as the lady in question, delivering a mature and layered performance—often physically naked but emotionally restrained. She manages to flesh out a complex character in the context of loneliness and sexual repression, suddenly unleashing her desires with stark consequences, and playing with the audience’s loyalties as her stoic and rebellious exterior begins to betray a rather cold and implacable interior.

Pugh is supported by a cast who all deliver in spades, particularly Cosmo Jarvis as the drifter and forbidden lover, although their sudden passionate entanglement could have used a ten minute extension to the film’s short runtime for the sake of narrative development, instead of the sudden romantic plunge we get. Meanwhile Naomi Ackie is equally impressive as Katherine’s lead handmaid ‘Anna’, the tragically silent moral centre of the whole piece and essentially the character who represents the audience.

The Bottom Line . . .

Thanks to an exceptional central performance from Florence Pugh and accomplished ones all around her, William Oldroyd’s directorial debut is a measured but completely captivating British indie triumph—a well woven little tale of subjugation, lust, loneliness and emancipation . . . and all at a cost. An expertly crafted and faithful little adaptation of provocative 19th century literature which maintains the tone of its Russian origins, while adding even more edge and keeping us gripped through all its turns and dark human drama.

Similar films you may like (Home Video)

Siberian Lady Macbeth (1962)

Andrzej Wajda’s adaptation of Nikolai Leskov’s 19th century novella, recounting the tale of of a repressed but rebellious young bride who embarks on a dangerous and passionate affair with a stranger, unleashing a dark side of her personality and bringing tragedy for the people around her.

Directed by Andrzej Wajda and starring Olivera Markovic, Ljuba Tadic and Kapitalina Eric among others.

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