Relocating Leskov's novel to 19th century England is an inspired way of breathing new life into the British heritage film and Lady Macbeth is a brilliantly chilly film. Florence Pugh is an icy presence as the social climbing opportunist and Cosmo Jarvis is also excellent. Oldroyd has a keen sense of style and this is really something different in the realm of British cinema.
Filme reaccionario ante un contexto opresor. No es pro feminista. Esta historia tiene como protagonista a una mujer que pasa de la sumisión al cinismo y se aproxima a paso firma a la perversidad. Esta Lady Macbeth no siente amor, siente deseo; no busca venganza, simplemente elimina a cualquier enemigo que intente perturbar sus ambiciones. Su acción es tragedia que se expande y no la mortifica. No es shakespearana.
We already have Lilith Fair and Jezebel.com, so why not reclaim another mythic symbol of wicked femininity in the name of empowerment? The idea is intriguing and the style stripped to bare suspense—too stripped, in fact. It establishes its mood and atmosphere nicely, but it's only skin deep. The plot mechanisms of the finale don't pass the smell test, as if it'll give up psychology and settle for blunt force.
An interesting film with the central character void of morals, or so it seems. Rather than run from danger she seems to run towards it, and will stop at nothing to get what she wants, justifying her actions by revolting against the marriage she was forced into. The film keeps the suspense going throughout, but the suspense is based on what Katherine is capable of, rather than what she'll get away with.
This has got to be one of the year's finest films. Took me totally by surprise. I thought - going in - that this was gonna be another misogyny fest à la "The Salesman"/"Brimstone" where she'd be objectified & punished because she's woman. Not at all. She turns the tables around. Becomes empowered, savante & displays a cunning (almost Fincheresque) demeanor to get everything she wants: love and caring. She winds up ▽