![]() ![]() The film’s director, William Oldroyd, and the screenwriter, Alice Birch, play a teasing game with our sympathies, sending the struggling Katherine off on a quest for independence, the stepping stones to which take the form of acts of steeply escalating cruelty. Science and Technical Research and Development.Infrastructure Management - Transport, Utilities.Information Services, Statistics, Records, Archives.Information and Communications Technology.HR, Training and Organisational Development.Health - Medical and Nursing Management.Facility / Grounds Management and Maintenance.Events and Offers Sign up to receive information regarding NS events, subscription offers & product updates. Ideas and Letters A newsletter showcasing the finest writing from the ideas section and the NS archive, covering political ideas, philosophy, criticism and intellectual history - sent every Wednesday. ![]() Weekly Highlights A weekly round-up of some of the best articles featured in the most recent issue of the New Statesman, sent each Saturday. The Culture Edit Our weekly culture newsletter – from books and art to pop culture and memes – sent every Friday. Green Times The New Statesman’s weekly environment email on the politics, business and culture of the climate and nature crises - in your inbox every Thursday. The New Statesman Daily The best of the New Statesman, delivered to your inbox every weekday morning. World Review The New Statesman’s global affairs newsletter, every Monday and Friday. The Crash A weekly newsletter helping you fit together the pieces of the global economic slowdown. Select and enter your email address Morning Call Quick and essential guide to domestic and global politics from the New Statesman's politics team. It’s not clear whether she is expected to follow, and a cut leaves the matter unresolved. On the plus side, there won’t be much cause for crooning in their house, no power ballads in the shower or anything like that. Unfortunately for her, it’s her husband, Alexander (Paul Hilton). Pugh plays Katherine, who is first seen reacting with surprise to a booming singing voice at her wedding ceremony. But it features certain behaviour (murder) that would feel more at home, and not so riskily close to comedy, in the hothouse of opera, rather than on and around the stark moors of low-budget British cinema. The extraordinary disc-faced actor Florence Pugh has her hair scraped back into plaits and buns – all the put-upon teenage brides are wearing them this season – and the film feels scraped back, too. The new film version, Lady Macbeth, is set in 1865 (the year the novel was published) and feels resolutely anti-operatic in flavour, with its austere visuals and no-nonsense camerawork: static medium shots for dramatic effect or irony, hand-held wobbles to accompany special moments of impetuousness. Two years after its premiere in 1934, it had a terrible review, allegedly by Stalin himself, in Pravda. Lady Macbeth of the Mtsensk District, Nikolai Leskov’s novel about a bored, oppressed and bloodthirsty young woman, was adapted for the opera by Shoskatovich. ![]()
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