With nine Oscars among them, the trio of outstanding central figures are trailing The Tragedy of Macbeth—Actors Denzel Washington and Francis McDormand and director Joel Cohen — may dominate speeches about the new Shakespeare adaptation on Apple TV +, but a fourth person also contributed artfully to the film. If not strongly.
French cinematographer Bruno Delbonnel He began working on the project months before filming a single frame, working with the director to create a visual aesthetic rooted in tradition and history.
His Sixth Approval for The Tragedy of Macbeth, a five-time Oscar nominee, is likely to continue to be a series of unsuccessful nominations, slowly resembling the greatest. Roger Dickens Relaunched in 1994. Bard led the satire to make himself proud, a regular cinematographer of Dickinson’s before Delbonnell. Dickins won his first Oscar for his 14th nomination, and then another victory at his 15th. Delbonnel is the best in the business, and it is not surprising that he ended his career as Dickinson.
This is the fourth time he has worked on the Coen Brothers project — he also filmed the duo’s Paris, je t’aime segment, earned an Oscar nomination for Inside Levin Davis, and went on to play a dramatically different role in The Ballad of Buster. Scruggs, an album, each containing six short films with a unique visual palette. However, Macbeth was the first to direct Joel Cohen himself. And as a result, Delbonnell does not have two sounding boards on the coin set. Although he had previously described them as ‘one man, divided’.
That’s what the man who started television commercials has to say — he told Deadline in a recent interview that he helped beat everything from cat food to washing detergent and is now one of the most in-demand cinematographers around. He said in the same interview that he had rejected the proposal to film Wes Anderson’s The French Dispatch, which was significant because Anderson had worked almost exclusively with DP Robert Yeoman; His unparalleled craft visual style is as long as Yemen does it on its own. However, Del Bonnell filmed Anderson’s excellent H&M commercial a few years ago.
This is not the first time a renowned filmmaker has agreed to part ways with their regular cinematographer to work with him. Along with Cohen, who has worked with Dickinson since 1991, Del Bonnell started three films with Tim Burton in 2012 and shot two films for Joe Wright shortly after the filmmaker split from Seamus McGarvey after the devastating pan. Next, Delbonel will work with Alfonso Curron on his next film, for which he will work with the director’s partner-in-crime, three-time Oscar-winner Emmanuel Lubezki.
However each of those DPs can take pride in adapting themselves to the director’s needs and changing things — for example, Lubezky portrayed both Gravity and Children of Men — Del Bonnell’s style is more recognizable than most filmmakers’. For example, Darkest Hour and Harry Potter And the Half-Blood Prince looked more like Bruno Del Bonnell movies than Wright or David Yates had done before.
The Tragedy of Macbeth, filmed entirely on Los Angeles soundtracks in black and white academy proportions, is different from what Coen or Del Bonnell have tried. It is a film defined by its emptiness; The empty space of its rugged halls and its deliberately artificial landscapes became desolate. Like Lars von Trier’s Dogville and Manderley, it’s a movie that appears in No Man’s Land between theater and cinema.
And like those films, The Tragedy of Macbeth is almost barbaric — not in a metaphorical sense, but very literally. Macbeth had no windows on the castle walls; There was no furniture in his rooms; There were no carpets on his floors. In stark contrast to the raging confusion in his (scorpion-infected) mind, you will agree.
In addition to Shakespeare’s very direct use of words, the film also offers a unique visual language. Together, this creates a sort of contradiction in the viewer’s mind — an immediate sign that they are experiencing something abstract. In addition to the compelling concept of communicating a 4: 3 aspect ratio, German expressionism and the film provoke the hat-tip mood of the film. You see an article about a man gradually losing his mind, so it makes sense to pay tribute to protagonists who are often torn by moral dilemmas.
Delbonel captures Macbeth’s unfolding with high-contrast images with rhythmic editing by Coen – the jaggery shadows on the courtyard can almost turn into painter portraits that fill the entire frame. And primarily after Gray Actings, Delbonnell separates the film into more distinct black and white, perhaps reflecting Macbeth’s insane decline. In the film’s morally dirty final act he once again fills the narrow frame with gray, and Washington arrives at one of his last close-ups, muttering one of the most important monologues ever written.
It was definitely an amazing show. But Delbonnell kept it together behind the camera. It would be a shame if he was not recognized.
The post credits scene is where we focus on the column, context, craft and characters that separate the new releases each week. Because once the dust settles there is always something to stabilize.