#williamoldroyd

I’m a sucker for Hollywood films, and I have a deep affinity for the French New Wave, Italian Neo-Realism, and all of the other important foreign movements a so-called ‘film buff’ should be familiar with.  I’d be lying, though, if I didn’t admit that I’ve got a deep down love for a good old-fashioned British drama.  There’s so many to choose from, but a recent recommendation caught my attention : the 2016 film Lady Macbeth. 

Katherine Lester (Florence Pugh) finds herself wed to Alexander Lester (Paul Hilton) in a marriage that resembles ownership of property more so than a declaration of love.  The couple lives on the estate of Boris Lester (Christopher Fairbank), Alexander’s father, and the Lester men keep Katherine under their system of control via intimidation tactics and keeping her within the confines of the home.  Katherine finds temporary freedom for a spell when both men leave the estate to tend to separate business matters.  Katherine is content at first with experiencing freedom she’d not recently had, but things change when she comes to the aid of her servant Anna (Naomi Ackie), who she finds being accosted by a group of men who work the land.  One of the men, Sebastian (Cosmo Jarvis), asserts himself, which sparks mutual arousal between Katherine and Sebastian.  With a newly discovered self-awareness emboldening her, Katherine sets about changing the power dynamic within the Lester household in a bold, shocking manner.

Lady Macbeth is a surprisingly shocking look at power dynamics and manipulation of the caste system.  Katherine’s motivations for her drastic actions are understandable based on her dire situation, yet it does not totally absolve her of her almost black widow-esque nature.  What begins as a game of push and pull between her and Sebastian quickly turns into a puppetmaster and puppet scenario that leaves a significant body count in its wake.  Katherine fights power battles with multiple men in the film, and a battle of moral will with Anna, and in the end it’s odd that we find ourselves siding with her despite her cold, methodical and ultimately heartless nature.

The decisions that are made to cover up previous bad decisions is like an incredibly morbid set of dominos that gains too much speed to stop.  No one person is to blame, as some of the struggles are rooted in systematic male / female struggles, and some over class, but all end up with nobody deeply involved able to take moral high ground, as everyone involved is equally guilty.  Alexander is guilty of taking advantage of the times, Boris guilty of rule by force rather than understanding, Sebastion guilty of temptation, Anna guilty of silent judgement, and Katherine guilty of following her indulgence at the cost of others.

The film itself is a beautiful one, with its lighting and textures resembling paintings that the characters are allowed to move through.  The dress is period accurate without being too flashy, immersing us in the reality of the time and circumstances.  The cinematographer smartly gives us intuitive clues into Katherine’s mind state via choices to shoot either fixed or handheld.  The pacing and cutting is measured, allowing us to feel the tension of the bold and dangerous choices the characters commit to.

Florence Pugh is a quiet force of nature on the screen, like a storm in the distance that overtakes you before you can prepare.  Cosmo Jarvis plays temptor turned victim quite convincingly, winning our pity for his poor decision making.  Naomi Ackie is chameleon-like, switching her character’s persona midway to great effect.  Christopher Fairbank imparts his will with old style ‘dignity’ in glorious fashion.  Paul Hilton seems to pull from a real well of resentment in his portrayal of a son in a frustrating position.  Golda Rosheuvel stirs the pot masterfully as an unknowing annoyance.  Anton Palmer brings a ray of hope into the bleakest of settings.