‘Lady Macbeth’ cautions us to control our powers of creation

“Lady Macbeth” (2017). Cast: Florence Pugh, Cosmo Jarvis. Paul Hilton, Naomi Ackie, Christopher Fairbank, Golda Rosheuvel, Anton Palmer, Cliff Burnett, Bill Fellows. Director: William Oldroyd. Screenplay: Alice Birch. Novella: Nikolai Leskov, Lady Macbeth of Mtsensk District. Web site. Trailer. 

How far are you willing to be pushed before you reach your limits? Some of us might cave in quickly, while others will endure much. A lot ultimately depends on the nature of the circumstances and how willing we are to tolerate them. For one independently minded woman, those limits get reached rather fast, and her recourse is something to which most of us would probably never resort, consequences explored in the chilling gothic tale, “Lady Macbeth,” available on DVD, Blu-ray disc and video on demand.



In 1865 rural England, the young, lovely Katherine Lester (Florence Pugh) is “sold” into an arranged marriage. Now betrothed to a cold, unfeeling husband, Alexander (Paul Hilton), thanks to a deal brokered by his father, Boris (Christopher Fairbank), Katherine becomes the lady of the house but primarily in name only. In Alexander’s view, Katherine is more like property or a showpiece than his loving spouse. He issues an array of dictates to keep her line, such as forbidding her to leave the house to go for walks. At the same time, he shows her little attention, be it emotionally, romantically or even sexually. And, to make sure that she keeps in line with his demands, Alexander allows his father and the local vicar (Cliff Burnett) to exert whatever pressure is needed to see that she conforms.

Needless to say, Katherine tires of such treatment quickly. However, given the rigid social strictures of the day, especially when it comes to women “knowing their place,” what is she to do? The opportunity to assert her independence comes when Alexander is called away on business for an extended time. She begins engaging in forbidden activities, like going for walks by herself. But the biggest challenge to her husband’s authority comes when she takes a lover, Sebastian (Cosmo Jarvis), a stable hand who shows her the kind of attention that Alexander won’t. Before long, the two launch into a full-fledged affair, one in which Katherine’s not especially discreet about her behavior – and something about which she’s not overly concerned, even upon Alexander’s unexpected return.

Having had a taste of personal empowerment, Katherine won’t settle for things going back to the way they were. She knows what it means to be in charge of her destiny, and she obviously likes it. But, to maintain such control, she must now resort to more drastic measures, some of which carry potentially serious consequences.

In an age where women have been increasingly claiming their power, this film is quite a timely release. However, the picture also provides a powerful cautionary tale in asking the questions, “How much is too much?” and “How far is too far?” In fact, that provides a valuable hint about the meaning lurking behind the title of this release; while the story has nothing to do directly with Shakespeare, it has everything to do with the character after whom Katherine is patterned.

This is crucial to how Katherine’s reality unfolds. The outcome is a direct result of the power of her beliefs, thoughts and intents, for they shape her existence through the conscious creation process, the means by which it arises and materializes around her. However, while those metaphysical building blocks may give her what she seeks, they may also hold the potential for related fallout that could end up carrying significant and troublesome consequences.

When we create without regard for what may accompany our sought-after goals, we can set ourselves up for extreme difficulties, ranging from personal hardships to legal liabilities to even bad karma. This is known as un-conscious creation or creation by default, where the drive for the fulfillment of our objectives takes unqualified precedence over anything else. It may indeed bring us what we seek, but it might also saddle us with trials and tribulations no one would want.

In large part, this practice arises from a notion known as pushing the Universe. As our divine collaborator in the conscious creation process, the Universe (or God, All That Is or whatever other term best suits you) acts as our manifesting partner, providing the means to bring about outcomes in line with our beliefs. However, when we infuse our intentions with a forceful attitude – one hell-bent on achieving the desired results, no matter what the cost – we may end up unwittingly pushing our collaborator into bringing us outcomes laden with all manner of unwanted baggage. Even if it doesn’t show up immediately, its presence is likely to appear at some point, perhaps when we believe we’re in the clear or when we least expect it.

Katherine obviously disregards these considerations in her approach. At first glance, she even seems quite successful in getting what she wants. But will that last? Considering the power she’s wielding, the outcomes she seeks and the potential consequences associated with her beliefs and actions, one can’t help but wonder how long her luck will last. There’s an important caution in that for any of us who believe we can get away with whatever we want, whenever we want, even if the hoped-for results manage to materialize. We need to tread carefully, lest we end up with more problems than we started with.

With that said, “Lady Macbeth” is a film that’s definitely not for the squeamish. Even though it avoids the trap of gratuitousness, there are aspects of the story that could prove unsettling for more sensitive viewers. However, in delivering this powerful and sometimes chilling tale, director William Oldroyd and a fine ensemble cast led by Florence Pugh serve up a tale full of questionable and conflicted emotions and motivations, all wrapped up in a beautifully filmed period piece package. For its efforts, the picture received two BAFTA Award nominations and an Independent Spirit Award nomination for best international film.

It’s been said that “Hell hath no fury like a woman scorned,” and those on the receiving end of such animosity can attest to the wisdom of that statement. However, knowing when to rein in that scorn is crucial, too, especially for those who want justice without going over the top. “Lady Macbeth” puts both issues in perspective and gives us pause to contemplate the options before there’s no going back.

Copyright © 2018, by Brent Marchant. All rights reserved.

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‘A Quiet Place’ explores the difficulty – and necessity – of adaptation

“A Quiet Place” (2018). Cast: Emily Blunt, John Krasinski, Millicent Simmonds, Noah Jupe, Cade Woodward, Leon Russom. Director: John Krasinski. Screenplay: Bryan Woods, Scott Beck and John Krasinski. Story: Bryan Woods and Scott Beck. Web site. Trailer.

Imagine what it would be like to drastically change how you conduct your life in very fundamental ways. The adjustment could be extremely difficult, especially if you’ve grown accustomed to following certain established practices and procedures. But suppose your life depended on making those now-necessary alterations. Picture that, and you’ve got an idea what a family of everyday folks must do to cope with life in the gripping new science fiction stunner, “A Quiet Place.”



With the arrival of a race of vicious predators, the Earth has become, as the film’s title observes, a very quiet place. That’s because the beastly creatures hunt based on sound, with the slightest noise capturing their attention. Indeed, anything louder than a whisper could suddenly place your life in serious jeopardy. Those wishing to stay alive have had to learn how to keep mum to avoid the prospect of an utterly devastating end.

Those are the conditions under which the Abbott family must now function in order to survive. The farm family struggles to keep quiet, something that proves more difficult than one might initially realize. As humans, we take our actions and their associated sounds for granted. It thus truly becomes challenging to lead lives where we must constantly look for ways to suppress the noise. But, then, that’s essential given what’s at stake.

Evelyn Abbott (Emily Blunt), a caring wife and mother, constantly reminds her family to keep mum to stay alive in the chilling new horror film, “A Quiet Place.” Photo courtesy of Paramount Pictures.

The film follows the lives of the family patriarch, Lee (John Krasinski), and his wife, Evelyn (Emily Blunt), in their efforts to protect their children, Regan (Millicent Simmonds), Marcus (Noah Jupe) and Beau (Cade Woodward). No matter how diligent they are, however, tragedy looms at every turn, something that inevitably can’t be avoided. The same is true for its potentially devastating consequences.

Nevertheless, these circumstances force the family to get creative in their self-preservation efforts. Through rather perilous trial and error, the Abbotts come to learn when it’s safe to vocalize their thoughts and when to look for other means of conveying them. Ironically, one “advantage” they have is their knowledge of American Sign Language, the means by which they learned to communicate with Regan, who was deaf before the predators’ arrival. ASL thus becomes the primary means by which the family members communicate with one another, too, something that proves a godsend under such extremely trying conditions.

Still, even with such creative means at the family’s disposal, situations arise that cause trouble. Incidents as simple as the shattering of glass, for example, cause panic to set in, prompting hyper-vigilance to evade the predators and stay alive. And, as the Abbotts’ story plays out, seemingly everyday events that naturally produce sound – and that we take for granted – suddenly become matters of life and death. One can only imagine how things will unfold when a pregnant Evelyn is ready to give birth.

Husband and wife Lee and Evelyn Abbott (John Krasinski, right, Emily Blunt, left) struggle to keep their family alive under unusual and trying circumstances in the gripping new sci-fi release, “A Quiet Place.” Photo courtesy of Paramount Pictures.

Given the nature of this story, which principally focuses on taking viewers on a tour of this new and very different world, the narrative is somewhat episodic in scope, but, in this case, that works because of the common elements that link different segments to one another. Also, because of the small ensemble involved here, the film doesn’t cast an especially wide net with its characters, but, again, that works well to keep the story from becoming cluttered or unfocused.

With that said, though, the picture is by no means simplistic or monodimensional. Themes like overcoming fears, surviving the dark night of the soul and thinking creatively to solve personal dilemmas are effectively addressed with treatments reminiscent of those found in movies like “Signs” (2002). What’s more, the picture’s richly layered narrative is deftly punctuated with spiritual symbolism that carries deeper meanings, a quality rarely, if ever, seen in releases in this genre.

This includes the principles of conscious creation, the philosophy that maintains we manifest the reality we experience through the power of our thoughts, beliefs and intents. The aforementioned concepts of facing fears and overcoming limitations, for example, figure prominently in conscious creation practices, as well as in the film’s narrative. The characters’ actions in these regards provide viewers with an effective showcase for these principles at work.

Devoted father Lee Abbott (John Krasinski, right) doggedly protects his children, Marcus (Noah Jupe, left) and Regan (Millicent Simmonds, center), against deadly predators in the new sci-fi offering, “A Quiet Place.” Photo courtesy of Paramount Pictures.

Of course, if conscious creation maintains that we create the existence we experience, one might wonder why the Abbotts have manifested the reality in which they find themselves. Why would anyone intentionally want to materialize such dire circumstances?

That’s a legitimate question, to be sure. And the exact reasons rest with the characters themselves, something with which viewers are not privy. However, in situations like this, we usually manifest such conditions as a means to learn and experience certain life lessons, no matter how pleasant or difficult they may be, because the only way to do so is to immerse ourselves in them to gain firsthand knowledge. We may disagree with the way in which the Abbotts have chosen to pursue such matters, but, then, it’s not up to us to judge them (or anyone else who elects to manifest any kind of comparably difficult circumstances for that matter). Since conscious creation fundamentally makes all options possible, for better or worse, at any given moment in time, the choice for experiencing certain kinds of lessons lies with each of us, and, because of that, those choices, in all fairness, should be free from such undue judgment and scrutiny. Like all of us, the characters here should be allowed to learn these lessons and experience these circumstances for themselves, no matter what we may think. We wouldn’t want others to subject us to such intense examination, and we should be willing to grant the same to them.

Doting mother Evelyn Abbott (Emily Blunt, left) struggles to protect her daughter, Regan (Millicent Simmonds, right), against constant perils in “A Quiet Place.” Photo courtesy of Paramount Pictures.

Writer-actor-director John Krasinski’s atmospheric offering serves up a haunting, suspenseful tale that proves it’s possible to make a chilling horror film without worrying about how high the body count gets. Despite a few minor plot holes, the story is solid, inventive and skillfully executed, making stunning use of elements – like sound and sound editing – that rarely get a chance to play center stage in a film’s finished product. But be cautioned that, if you go see this one, you should also be prepared to have the crap scared out of you.

Those familiar with my viewing habits are well aware that I rarely screen horror films. As I have written on previous occasions, their gore-dripping gimmickry and gratuitous imagery frequently make me wish that I would have skipped the concession stand on my way into the theater. However, when pictures in this genre are intelligently handled and have something meaningful to say, I’m more than happy to sing their praises, and that’s certainly the case here. Take the time to see this one, and, if you like it, be sure to shout about it from the rooftops.

Copyright © 2018, by Brent Marchant. All rights reserved.

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Reviews of "A Quiet Place" and "Lady Macbeth," as well as a radio show preview, are all in the latest Movies with Meaning post on the web site of The Good Media Network,  available by clicking here.

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