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William Oldroyd
Nicholas Lumley as Mr. Robertson
Naomi Ackie as Anna
Finn Burridge as Farmhand
Cosmo Jarvis as Sebastian
Kema Sikazwe as Farmhand
David Kirkbride as Edward
Anton Palmer as Teddy
Bill Fellows as Dr. Bourdon
Paul Hilton as Alexander
Cliff Burnett as Father Peter
Fleur Houdijk as Tessa
Florence Pugh as Katherine
Ian Conningham as Detective Logan
Storyline: Rural England, 1865. Katherine is stifled by her loveless marriage to a bitter man twice her age, whose family are cold and unforgiving. When she embarks on a passionate affair with a young worker on her husband's estate, a force is unleashed inside her, so powerful that she will stop at nothing to get what she wants.
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vacuum packed
As in Chazelle's La La Land the defining shot in William Oldroyd's Lady Macbeth is a female faciality.

Oldroyd and Chazelle's through both the camera and the edit indulge long slavering shots of both Emma Stone and Florence Pugh. Both these young actresses are sat nicely preened, motionless on the set, posing for the audience with looks of self satisfied smugness as the lens laps up their faces in an act of optic devouring.

Both films are about desire, and today's directors, in particular but not exclusively male ones, seem spellbound by the images of the faces of their female protagonists as they play to realise the object of their desire. In the Public relations hand-outs this is called female empowerment. Katherine and Mia are caste as representatives of a rewritten 'desire' retro-history, and both heroines achieve the 21st century feminist dream of having it all. These movies might be understood as the consequence of the pact production companies and their directors make out with the juggernaut of pseudo-feminism orthodoxy that rolls over the global arts and political landscape. We are experiencing the implementation of a fake feminist canon of political correctness in which the female presentation, as image, vies with Bolshevik strictures concerning the historic correct destiny of workers and peasants, for the mantle of being the most deadening sterile social paradigm.

Lady Macbeth is adapted from Nikolai Leskov's Russian novel, Lady Macbeth of the Mtensk District. Leskov's novel seems to have been completely corrupted in its film representation. Whereas the novel's actual back ground of serf culture with its underlying violence, serve Leskov's plot well and embed the action in a specific culture, Oldroyd's film is a decontextualized vehicle. Lady Macbeth is set in a narration black hole. The 'period look' setting reminded me of the final sequence of Kubrick's 2001 in which Bowman finds himself deposited in a neo classical apartment. Lady Macbeth seems likewise beamed up. But Katherine unlike Bowman has not been scripted to die, but rather like Schwarzenegger's Terminator, been sent to right the wrongs of history and restore a feminist gloss to literature and history. (Leskov's novel ends with Katherine and her serf lover guilty of murder and sentenced to exile in Siberia). Oldroyd's land Macbeth has as its final shot Katherine smirking into the camera.

There is an immobility in the sets which together with the acting style and the lines of dialogue, give to Lady Macbeth a theatrical aspect. Both Becket and Pinter as playwrights used decontextualized settings, mannered delivery of dialogue and non naturalistic dialogue to specific dramatic effect. These writers exploited lack of context and freedom from external constraints, to probe explore and evoke metaphysical and psycho-social tension in the characters. Oldroyd's script doesn't do metaphysics; it does mechanics, the mechanicality of Katherine's career of 'desire achieved'. There is nothing for the audience to see or to understand, other than the script progressing from one event to the other, from one success to another. From Katherine's romps with Sebastian to her final murder of the young heir. There is no 'out damn spot' moment, no moments of irony or self awareness. Only that one reiterated image: Katherine sat facing outwards looking towards camera like the cat that got the cream.

And a cat periodically appears throughout the film, as do landscape shots, both serving the film conceit of referencing nature as a transposed states of mind. Visual clichés that at this point have long out served any purpose other than pretension.

As there were no serfs in England, Leskov's underclass characters in Lady Macbeth are given over to be played by blacks. I think the idea will have been to migrate contemporary racial sensitivities back into a decontextualized 19th century thereby deepening the meanings underscoring social relations in the film. But race relations are always mediated by context, and the interposing of race simply deepens Lady Macbeth's ontological confusion. In an English setting, race and class issues imaged in lady Macbeth, only blur and confound. A more appropriate background for the film might have been in the Southern States.

By the time the end credits rolled Lady Macbeth had left me without a thought. The truth content of the movie was a void. The assembly of the movie pointed only to external relations of film making as an act of ideological purity. I did wonder if they had filmed a lesbian scene between Katherine and Anna, but wisely left it on the cutting room floor. This idle thought merely underscores the banality of a film that flaunts its credentials as an empowering medium, a piece of junk thought that underlines only that Lady Macbeth is a dishonest dis-empowering medium. adrin neatrour
Good performance in a bad movie
Impressive acting performance by M/S Pugh but in my view a silly unbelievable plot that you could shoot canon balls through. I look forward to seeing Florence Pugh (not a good film name) if the film you're in is a stinker..... I have a question to the director why and how were so many coloured servants working in a household in Rural England 1865 it would have looked more authentic set in Georgia or Atlanta. also Devon Rex cats weren't bred in England till early 1960 ? One of many questions about the plot that I won't ask as it may spoil the film if anyone wants to see it , it's worth seeing for Florence Pugh I hope she changes her name in the future Lucille Le Sueur did and she became Jane Crawford as did Francis Gumm who turned into Judy Garland.
Good enough
Overall, it's not a bad film, especially considering the performances. The story was okay too, with the intensity getting more development towards the end, when the tragedy climaxes. However, there were some parts of this film that were boring. The girl is bored, as she is locked in a house with nothing to do. And we can see her spent her days doing nothing, just sleeping and watching out of the window in repeat mode. At first, that was okay, as the film makers wanted to give us a taste of what her life was like and what led her to make the choices she did. But, after a while, it just got a bit tiring. The romance was kind of quick too, though, I guess, it wasn't much of a romance rather than a getaway from her boring lifestyle. So, her attachment to her lover was more of a paranoia over her lost freedom rather than a great love, and that could be figured out in the end. The performances were great as well, and the moody atmosphere were perfect with the dramatic factor of the movie. However, it just felt that it had potential to become even better than the final result. So, 6 out of 10.
Excellent story telling - beautifully acted and directed.
I was enthralled by this movie from start to finish. The cinematography and sound were excellent. The complete absence of a music soundtrack except for two notable atmospheric crescendos added to the overall oppressiveness of the story and the location. All of the performances were excellent and the lead was outstanding IMO. The story was in many ways familiar - being evocative of Bronte and Hardy - with its portrayal of Victorian country gentry and the brutality and sense of entitlement that sometimes occurred between the classes but the way the story unfolded frequently surprised me by not following through in the way one might have expected it to. I too would recommend a cinema viewing in order to get the full effect of the landscape and the oppressive silence of the house.
first - for the performance of Florence Pugh.and for her art of presence . the second - for the cold atmosphere. the tension as large spiderweb. not the last - for locations and bitter beauty of images and the memories about the play of Shakespeare, Lady Chatterley or Emma Bovary. and about the revenge as idea defining society. a slow, precise and cold film. like a piece of ice. a story about solitude. maybe, a tragic love story. inspired by a Russian character, it is one of fascinating , impressive films for the force of details. for the frames and for the hidden words. for a form of elegance. and for the direct message.maybe, for impeccable performances. and for an impeccable story.
Rousing telling of Lady MacBeth (Russian style)
As "Lady Macbeth" (2016 release from the UK; 90 min.) opens, we see a young woman (we later learn her name is Katherine) getting married in what looks to be 19th century England. On her wedding night, she is left untouched by her (older) husband. Her father-in-law, also living there, is equally unpleasant. Katherine is utterly lonely and depressed. Then one day, both her husband and father-in-law must go out of town for business. It's not long before Katherine strikes up a torrid affair with one of the groomsmen. At this point we're about 10 min. into the movie. What will become Katherine and her lover? To tell you more of the plot would spoil your viewing experience, you'll just have to see for yourself how it all plays out.

Couple of comments: you may think this is yet another movie adaptation of the Shakespeare play, but in fact this is based on the Russian novel Lady Macbeth of the Mtsensk District by Nicolai Leskov. I will leave it to the Shakespeare experts to comment how different this story is from Shakespeare's. What I can say is this: the movie is very much story-driven. Things happen, and happen fast, and it doesn't let up! There is hardly any music in the film. Another unusual fact: the movie does not have a title. There are no opening credit, and when the end titles start, it simply says "Based on Lady Macbeth of the Mtsensk District by Nicolai Leskov", and that's it. (The Katherine character is regularly referred to as "Mrs. Lester" or maybe that should be "Leicester".) The star of the movie for sure is Florence Pugh, an up-and-coming British actress, whom I can assure you we will see plenty more of (she reminds me of a young Kate Winslett). Played by Pugh, Katherine is passionate and ruthless. Last but not lest, the movie was filmed (according to the end titles) in Northumberland, the area just below the border with Scotland, just beautiful.

"Lady MacBeth" premiered at the 2016 Toronto International Film Festival to positive buzz. It finally opened this weekend at my local art-house theater here in Cincinnati, and I couldn't wait to see it. The Friday early evening screening where I saw this at was attended dismally (4 people, including myself), which does not bode well for this movie, considering it was the opening night. That's a shame. Maybe this will gather a larger audience through Amazon Instant Video, or eventually on DVD/Blu-ray. If you like a strong story-driven movie with great acting, you could do a lot worse than this particular "Lady MacBeth"!
Really like this one.
The set up looks like some thing that would normally bore the hell out of me but that was not the case with Lady McBeth. The whole pace of the movie was set up well and the acting in it was brilliant.

It feels like one of those straight up adaptions from some play or something. I don't know if that was the case. Also reminds me of another movie made about the same time period, the Beguiled. The contrast between the two films is how raw Lady McBeth is, absolutely no flash.

So a young woman is force into a loveless marriage where her husband dislikes her and is sent away for a long period of time. In that time she has an affair with the stable boy and they go through dramatic lengths to keep seeing each other.

At first I thought this movie was going to be filled with feminist elements to go hand and hand with the period the movie is coming out in, and technically it is but just not in the way I had imagined. The true concept I'm seeing here has mostly to do with the advantages of privilege and how easy one can get consumed by it if you have it, and screwed by it if you don't.

Overall, the beauty of the film is showing how truly ugly some people can be, and doing it in a way that's exciting and colorful rather than making me turned off.
Masterful photography of a Shakespeare-like lusty drama.
Looking at the title, you might think director William Oldroyd's Lady Macbeth is about revenge, lust, murder, and boredom, and you would be right on all counts. Katherine (Florence Pugh), a 19th century teen bride of an arranged marriage to a middle-aged drunk, can't get no satisfaction. Her husband is impotent for starters, and the estate is so forbidding murder would seem to be a required pastime.

Yet, sex is the prime mover here, where she discovers randy groomsman Sebastian (Cosmo Jarvis), and takes him to bed in the long absence of her hubby. Meek black Anna (Naomi Ackie), Katherine's servant, observes the shenanigans, much as we do, unable to change what she sees will be an outcome unpleasant to the core. To the end Anna is faithful to Katherine, a slave to a mistress who is herself a slave to men and convention.

Several archetypal themes arise in this somber, artfully-photographed drama. For instance, one that emphasizes the wages of sin is prominent; another about the subjugated rising against the oppressor; and another about the danger of socially imprisoning smart women in a paternalistic society. A leitmotif also surfaces about the dangers of debilitating class distinctions, which are never a good thing in the long haul.

Ari Wegner's cinematography is portrait-like if considering only the recurring shot of Katherine sitting on her Victorian couch in a consuming dress that seems to deteriorate with each similar shot. Underneath the dress is the corset, so long a symbol of the era's tight hold on women.

Remembering Amma Asante's Belle, I'm pleased to see another art- film treatment of fraught race relations in merry ol' England. That none of this will ever stop is promised in the spawn of the miscreants, children of evil destined to repeat their parents' sins.

Lady Macbeth is an interesting minimalist story of a smothered young woman, whose intensity will lay waste to the social fabric of the estate. In fact, much of the proceedings are Shakespearean with their emphasis on man's weakness in his dominance, a woman's Eve-like ability to lure men into sin, and the pride that inevitably leads to a fall.

Depressing but dramatically satisfying.
Some of the camera shots were superb. However, it was over-stylised to the extent of becoming pretentious. For example, there is one scene where Katherine is portrayed in a beautiful royal blue dress just sitting on a period piece sofa for an interminable length of time. I loved the antique furniture settings, but as for the content of the film itself: urgh!

It quickly went downhill with touches of Downton Abbey and no redeeming features at all.

I didn't like the story line, which I thought was the height of bad taste and darkness just for the sake of being 'dark'.

One scene was so depraved (not sex) I was disgusted, as there was no point to it.

Four stars because of the great setting.
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