Best Actor 2021: Denzel Washington in The Tragedy of Macbeth

Denzel Washington received his ninth acting Oscar nomination for portraying Lord Macbeth in The Tragedy of Macbeth. 

The Tragedy of Macbeth is a brilliant adaptation of Macbeth by Joel Coen, fashioning the old tale of ambition through the style of a German expressionistic nightmare. 

Although I haven't counted, Macbeth may be my most reviewed character, at the very least one of the most reviewed characters, therefore I have seen a great deal of variations upon this role. A role with a clear trajectory, but less clear in terms of the motivation and personality of the character, despite the fact that, aside from Toshiro Mifune, everyone is more or less saying the exact same words. What a performer, emphasizes, or doesn't, emphasize can speak towards so much of what becomes Macbeth, even if the facts always remain the same, he's a lord, who hears a prophecy that could be king, conspires with his wife to kill the king, becomes king, goes mad and is killed. That is every Macbeth no matter what, and he set to that fate. It is then the actor's task to not only make that fate compelling but to offer some unique perspective through their performance to craft a version of that tale worth watching.

Denzel Washington had only one previous role in which he performed Shakespeare onscreen, Kenneth Branagh's delightful Much Ado About Nothing, where Washington performed well with the Bard's words, however through the breezy role of the good prince in that film. This is more than a little bit of a step up in terms of the task at hand, no longer a supporting role, but rather one of Shakespeare's key tragic figures in Macbeth. Although it is nearly 30 years since Washington's last cinematic Shakespearean turn, Washington did not lose any of his ability with the text, in fact, Washington only reveals all the greater mastery of it. Washington honestly probably could read the complete works of Shakespeare and it would be worth listening to through the ease and really grace that Washington speaks the words. He finds that elegant balance where he can uncover the essential grandeur of each speech, while also delivering every element in a way that grants the right naturalism to the words as well.

Washington, therefore, steps into the role of Macbeth with a great deal of confidence. The question though is what is Washington's technical take on the role of Macbeth. Well in this instance Washington might play this part most closely to his role in The Equalizer, as basically this professional killer who is slowly aging. We see this in his first scene where comes across the three witches (Kathryn Hunter) after his successful battle that defeated a treacherous enemy of King Duncan (Brendan Gleeson). Washington's initial expression is this combination of a kind of curiosity, but also this sense of aged exasperation of the old warrior having performed yet another task. When seeing the witches it is with this sense that he might as well see something strange in his life at this point. When they say he will be named King, Washington's eyes denote this almost humorous kind of doubt among the statement. There is a sensibility about Macbeth that Washington suggests, and doesn't take the witches' words as anything more than an interesting peculiarity at first.

Washington portrays very much the loyal soldier who isn't bound by the idea of glory. His reactions towards the praise of the king is greater than hearing about his new lordship from his victory. Washington accentuates the idea of a man who has been here before and has experienced much as the soldier for the king. So much so that Washington's reaction to victory, is just the reaction towards not dying this time around. What Washington does through this is craft a differing motivation for Macbeth, as he's not defined by this kind of fiery ambition that is more typical in portrayals of the character. His motivation is defined by his relationship with Lady Macbeth (Frances McDormand) though not in the way of overt lust as per usual. I think Washington's portrayal of his first expression towards the Lady is so essential in creating this personal dynamic. This as his gentle smile not only shows that in this version Macbeth genuinely loves his wife, but that the love is kind of this old weathered kind of love. Love that to Macbeth isn't something he questions and is settled within him, unfortunately, the Lady might not quite agree.

What becomes the motivator for Macbeth is not sexual lust rather attempting to show her his love. Washington's portrayal of the scenes of contemplating whether or not to kill Duncan to become King is filled with a greater empathy towards Duncan in a way, and his reactions towards his wife is of a dutiful husband. Washington portrays the hesitation differently than many a Macbeth who are often more fearful of the task at hand. Washington instead presents the contemplation as a man perhaps overly familiar with death, and treating his wife's words as a course of action, though maybe a questionable course of action.Washington's weighing the act in soliloquy then is a fascinating examination of it. Washington performs less so as this grand ambition, rather as this potential only ambition he may have left in life. Washington presents it as the thoughts of truly an older man who believes that it may easily just live out the rest of his life as he is rather than the ambition to become king. When the lady prods him to do so, Washington brings this kind of perfection as his reaction as he both conveys the gravity of the situation, though with this kind of manner as though Macbeth is in way being chewed out by his wife, as though it is an argument that he has long heard for his lack of ambition and been reminded of as he is prodded to commit the murder. 

The scene of approach aka the famous "dagger" soliloquy is where I might as well reinforce the mention of one of the great joys of this performance, which is simply to watch Washington perform Shakespeare. Washington is spellbinding every time he takes center stage and brings you right within the presence of Macbeth. Washington has one of the all time great innate screen presences to begin with as there is just a natural force and charisma about him. And in turn it is mesmerizing to see him wield it through the Shakespearean monologue. I'll admit one can even forget  the intention for a moment, it is just such a treasure just to witness the performance completely detached from character in a certain sense. The performance though goes beyond that in the brilliance of Washington's turn as no word is simply left to be beautiful speech, as much as it is that. This in the speech Washington actually fashions the entirety of the arc of Macbeth's choice as he goes closer to the door. This as he initially sees the "dagger" there is the uncertainty in seeing the dagger that his expression slowly changes towards this kind of mania in seeing it as instead not a warning but a prophecy. This naturally seguing again in Washington as he becomes inspired by it until there is suddenly this strict uncompromising conviction as the "bell invites" him to kill Duncan. Washington shows how Shakespeare ought to be done and is absolutely stellar in this scene.

The murder itself performed as a cold assassin, befitting the old warrior undergoing the task, though this in stark contrast as he goes back to the Lady to inform of the completion of the task. Washington is outstanding in the scene in again finding this path, and I love the scene he plays it as almost a drunk having a moment of clarity. This as the guilt that Washington portrays in the moment is as this near childlike realization of a crime. His speaking of basically this curse upon him as Macbeth "will sleep no more" it is with this nearly detached sadness he speaks as though he can't quite reckon what he has done and is truly burdened by it. Washington fashioning the earliest state of the true madness that will come to inflict the mind of the man. Washington's eyes conveying the sense of the attachment to the deed, the attachment that drains and pains him, and will leave him unable to essentially reconquer himself as a man of virtue or a loyal lord ever again. As much as Washington attempts to portray the loyal lord again when the morning comes and men come to call on the king. Washington showing well the limitation of Macbeth. Putting on the face of innocence, but his exhaustion denoting a man who has not slept. Washington showing a man punished by guilt even as he attempts so hard to hide it. 

It must be noted that I do have a particular affection when filmmakers play with an expected presence, and one of the great joys of that is found here when Macbeth goes and kills the two guards "responsible" for Duncan's death after he is discovered. Joel Coen seems to purposefully evoke Washington's work as the Equalizer as the killing machine who disposes his foes with deliberate ease, something that will come again later in the film in an even more glorious depiction of such. Immediately following the scene where Washington explains Macbeth's reasoning for killing the men is an extraordinary rewriting of the moment by Washington's performance. This as Macbeth's explanation that it is hard to be rational when so emotional and so filled with love, Washington's performance successfully makes it as this pledge of love towards the Lady. Again not as this declaration of lust, but genuine love, though the Lady might take it as the former. Washington's portrayal is outstanding of this as every line he ensures such strict conviction to this and his eyes darting this specific passion. He speaks it as though it is almost these marital vows to remind her so potently that he loves his wife and has done this thing entirely for her love. Washington, McDormand and Coen so successfully making this old married couple almost kind of renewing their vows and finding the spark again, via murder of course. 

Washington's performance following is man essentially defined by his own act, as a man suspicious of all in order to maintain the kingdom since he knows the ease in which it can be taken away. Washington is amazing in the scene with the two assassins because he presents it as Macbeth attempting to play the king in a way and in a way failing to instruct the men to murder his old friend Banquo. Washington putting on the face of the king carefully ordering the two murderers to do his bidding as though he is granting them this task as though it comes down from high. Washington falling into a random mania briefly when speaking the most vile words to end Banquo's life, before attempting to return towards some normalcy. Washington showing his Macbeth as this act of a king attempting to be a king while burdened with the maddening paranoia of conspiracy around him which undercuts this. Washington brings such powerful meaning then as he speaks to Duncan's fate with this strange contemplation as death as being this kind of comfort from the difficulties of life. Washington creates this sense of this almost in the jesting  way he speaks of the "hollow crown" as nothing but a burden. Washington shows so well the curse that is Macbeth's state as he lives with the knowledge, and as such a more complicated thing then just guilt. In fact guilt may be the least of it. 

The ghost of Banquo in this version, as he haunts Macbeth's feast, takes upon a new kind of meaning here. This as Washington puts on the front of the good king as it begins before seeing the ghost pass by and the facade instantly crumbles in Washington's face. Instead all the madness that grips him pressing against him once more. Washington's yells at the ghost being this full fledged insanity of believing him to be cursed in this sense and his whole life to be this kind of joke against him. Washington's portrayal of Macbeth is essentially as a man who is more or less lost even by the mere act that he committed and very little has any real meaning in life other than awaiting his poor fate, becoming basically the fearful old man gripped by the terror of his upcoming demise. When hearing the second witch prophecy Washington's portrayal accentuates the man looking for some kind of safety in his state. Every question he asks with this urgency of need for the protection. His eyes peering for any grey area, any problem, hoping to find any kind of calm for his state of mind. Washington easing away some of this apparent suffering only as Macbeth hears the words that only seemingly impossible events could possibly lead to his death. 

Comfort is never found though and Washington continues to excel in creating this strange state of the man basically as the king trying to convince himself of his own strength. When hearing of the troops coming his way to destroy him, Washington's barking of Macbeth's orders are with the grand gestures of a wannabe king, ferocious yet weak. Washington wields even the loudness in a way of a man trying to quiet his own mind filled with only doubts. This only breaking when he sees the death of his Lady via suicide (or perhaps not in this version). Washington amazing in this moment because he so poignantly speaks to a genuine self again as he bemoans her fate. The real love that defined his initial act is there again an the realization that his gain is now wholly lost comes clear against Washington's harried face. The facade leaves again to show the humanity still left over in the now fiend, and so powerfully so. The particular brilliance is Washington from this point as the man essentially broken wholly now. When the first man comes to kill him, and we get our second equalizer scene, Washington is so perfectly dispassionate just as he so artfully physically performs the scene. He walks open to slaughter and his query of "thou was born a woman" is with this casual kind of "alright you can die then". 

 

Washington's manner treats it as all this game now, as the man who has no reason to live other than the kill in a game he believes he cannot lose. This instantly however is subverted as he comes across MacDuff (Corey Hawkins), whom the witches had warned him of. I love Washington's initial delivery which he speaks as this basic even casually issued caution as though asking "hey do you want to die to?". However when MacDuff reveals that his birth "being not born but ripped from a woman", Washington's expression makes this final confrontation pure classic Coens dark humor in a way. This as Washington's little shrug and and swallow is this reaction that speaks Macbeth's thoughts of "of course, that's exactly what would happen" as just another misfortune in a sea of them. Macbeth accepting his fate with almost this kind of gentle humor. It is probably obvious but worth restating, I adore everything about this performance and really every second of Washington;s outstanding work in this film. It is in part because Washington is just such a captivating performer of the Bard that it is hard not to treasure every line he speaks. It is in part because it is such incredible use of Washington's screen presence both in an expected and unexpected way. Most of all though he makes the challenge of the role seem nonexistent while also crafting his own uniquely powerful, poignant and even comical portrait of the Lord defeated by his own greed and hubris.