Of course, it’s not much of a surprise that a spartan, frigid little English movie based on a 19th century Russian novel hasn’t been able to compete with the likes of “Lady Bird” and “The Post.” And in an awards race that has focused its attention on female characters who find their strength (whether through asserting themselves, forgiving someone else, or having sex with a fish man), Pugh’s indelible portrayal hinges on corrupting it. In a year that has been defined by systemic (and predominately misogynistic) perversions of power, “Lady Macbeth” is an urgently merciless cautionary tale. She isn’t a victim who becomes a monster, or a prisoner who becomes a master she’s a woman who’s been conditioned to believe that abuse is the only true expression of power, and she’s determined to survive her sex. It’s often said that films orbit around certain people, but “Lady Macbeth” is the rare film that actually justifies the expression Katherine stays rooted in place as we pivot from one perspective to another. The character is sympathetic at the start of the movie and sociopathic by the end, but the genius of Pugh’s performance is that she never changes a thing. Katherine wears her pink skin like an impenetrable suit of armor, which might explain why Alexander - after ordering his wife to strip naked - immediately crawls into bed and goes to sleep after seeing her uncovered body.īut nothing seems to faze Katherine, in much the same way that great white sharks don’t get scared she’s a beautiful stranger with rosy cheeks that hide teeth behind teeth behind teeth, her face often masked with the bored look of a wild creature in captivity. That might just be the understatement of the century. 'The Lord of the Rings': Everything You Need to Know About Amazon's Big Money Adaptation Oscar Winners Anthony Hopkins and Colin Firth Face Actors Seeking Their First Nomination 'Don't Worry Darling' Cinematographer Calls Film 'The Most Harmonious Set I've Ever Been on' 'Don't Worry Darling': The Movie's Biggest Fans Might Be the Real Housewives “You’re not too cold?” Alexander wonders insincerely from the far side of the room. Later that night, Katherine is alone with her groom (Paul Hilton) for the first time. “Nervous?” “No.” She looks into Anna’s eyes, either searching the servant’s face to see if she has reason to be nervous, or trying to indicate that it’s her husband who should be nervous of her. “Are you cold?” Anna asks, a valid question on a brutal winter night in the North of England circa 1865. Her new husband’s chambermaid does the honors, Anna (Naomi Ackie), slipping the girl into her nightgown. It’s Katherine’s (Pugh) wedding night, and the 17-year-old bride is being dressed for her deflowering. Indeed, the film’s emblematically terse first exchange looms over the 85 minutes that follow like a dark shadow on a bitter day, and it’s proof that Florence Pugh deserves more attention in this year’s competitive awards season. There aren’t very many words spoken in William Oldroyd’s “ Lady Macbeth” - most of the communication is done through sex, abuse, and murder - but not a one of them is wasted or forgotten.
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