2,182 words
Hollywood gave Shakespeare fans a Christmas present: a new version of one of the Bard’s most iconic and gripping tragedies. Although the plandemic delayed production by four months or so, Joel Coen’s The Tragedy of Macbeth was released on Apple+ on December 25. According to IMDB, it should hit the theaters on January 14. Variety reported that a sneak preview in September was a hit at the New York Film Festival, which had just cautiously reopened:
The NYFF screenings adhered to strict COVID protocols, as guests were told twice before the movie played to keep their masks on — covering both their noses and mouths. . . .
Inside the theater, there were crowds at a bar, as people clamored for a free cocktail with Campari (the festival’s sponsor) and soda.
“I want to point out just because it’s a tragedy it doesn’t mean you can’t have a good time,” Coen said as he introduced the film, which he made without his brother Joel.
Judging from the early reviews and the response at the screening, “The Tragedy of Macbeth” could mean another trip to the Academy Awards for both Washington and McDormand.
I wish I could’ve been there, simply to see the festival-goers sucking down all those cocktails and sodas while pretending to wear their face diapers properly. However, I haven’t watched the movie, and I have no intention of buying a ticket. I’m not even going to pirate it. For all I know, it could be a great show in a lot of ways, but there was a major mistake that ruined it. Thus, that Christmas present turned out to be a lump of coal.
Diversity casting
For the Scottish Play’s eponymous character, which Shakespeare based roughly on the eleventh-century King Mac Bethad mac Findlaích, Joel Coen cast Denzel Washington in the role. He certainly can act; that’s not the problem. It’s so obvious that I hardly need to mention that he looks nothing like a native son of Alba. There’s not a scintilla of doubt; one surviving account of the historical Macbeth describes him as a ruddy blond.
Washington certainly isn’t the film’s only black actor cast in a white role. His major rival, Macduff, is played by Corey Hawkins. (He was also recently credited in the miniseries Americanah. Sadly, it appears that the project has been scuttled, but it’ll be a must-see if it ever emerges, since the original book by Chimamanda Ngozi Adichie is a stunning triumph of modern literature.) Moses Ingram is in the role of Lady Macduff. She’s pretty charming as far as black ladies go, but nobody would mistake her for a Scottish lass. Ethan Hutchison, partially of Dominican heritage, is cast as their young son, and Madison Randolph (uncredited) plays their daughter.
Finally, there are some minor characters played by blacks, including a few not explicitly named in Shakespeare’s original. The very ethnic-looking James Udom is cast as Seyton, Sean Patrick Thomas is Monteith, Olivia Washington is a children’s nurse, and Mylo Uschold is an uncredited child. Wayne T. Carr is Lady Macduff’s murderer, which technically makes that ghastly part of the vendetta a black-on-black crime.
Thus, of the named characters in the movie, a third of them are black. That kind of demographics just didn’t happen in medieval Scotland. It doesn’t even happen now. This is despite the British government letting in anyone with a pulse (except British or Afrikaners trying to leave Rhodesia or South Africa) for the last several decades. In fact, the sad joke of a politician Hamza Yusuf was complaining bitterly about Scotland being too white. (Dude, GTFO, srsly.) From the film, one would think that Alba was only slightly less African than Philadelphia.
There are exceptions, of course. One of them is Frances McDormand, who plays Lady Macbeth. After all, a contemporary Hollywood movie isn’t complete without at least one interracial couple, right? Anti-white shows should be her kind of thing, since one of her early major roles was in Mississippi Burning. (A review appeared in Instauration in December 1989.) Later, she starred in Fargo. This Coen Brothers movie wasn’t so bad, as far as films go in which Hollywood types mock the people who grow their food. In real life, McDormand is married to Joel Coen himself.
What’s the matter with racial miscasting?
The entertainment industry can’t leave anything well enough alone.
Inaccuracy is just the beginning. Shakespeare is an important part of the Western canon, and the Scottish Play offers stern lessons about self-delusion, biting off more than one can chew, cycles of retaliatory violence, and the notion that the ends justify the means. Don’t mess with it! What we’re seeing in the new film is part of a larger trend of diversity casting. For anti-white Leftists, this serves two purposes: first, to try to gaslight the public into believing that Europe was always multiracial; and second, to distort our culture and rub our noses in it. If Joel Coen was just blindly following Hollyweird fashion, he still owes us an apology.
If someone were to produce a movie set in sixteenth-century Dahomey or Guinea, it would be unthinkably bizarre to make it about shoguns, samurais, and ninjas contending to rule over West African tribesmen, and of course with no explanation of how the Japanese got to the steamy rainforest. Why is it acceptable to do things like that to European history and folklore? I even referenced the absurdity of racial miscasting in my immortal classic tale of thud and blunder, Space Vixen Trek, Episode 13: The Final Falafel:
“What I mean is, I’m contemplating my future in acting. Of late, I am attempting to decide whether or not I want to stay in the drama club next time I go back to school. You could say I’m a bit disenchanted. The teacher was considering staging Othello next semester, but he refused to consider me for the title role, would you believe it? He said I didn’t have the right look, whatever that’s supposed to mean.”
Karl reminded him of the obvious. “Dude. You’re White.”
The dweeb squealed, “But everyone knows that race is merely a social construct! It doesn’t even exist!”
“You should visit the local chapter of the Black Panthers and try to show them the error of their ways. I’m sure they could clue you in.”
“I could just rub burnt cork on my face and nobody would know the difference. It worked in vaudeville, right?”
“I’m sure that would fly in today’s political climate. Go right ahead if you want to be the subject of angry editorials, candlelight vigils outside the school, and a race riot if you’re lucky.”
Jethro added, “You ever been to a Klan cross lightin’? Well, the colored folk got somethin’ like that too. If you get on their bad side, they’ll burn a watermelon on your lawn.
Shakespeare just doesn’t have many opportunities for non-white roles, explicit or plausible, but there are ways to adapt the source material — such as by culturally enriching Romeo and Juliet with Puerto Ricans, setting it in New York, and calling it West Side Story. One can create an Africanized version of Hamlet by changing the location to a sunny savannah and putting lions in it. All that worked, right?
Finally, surely there’s plenty of African folklore which could be filmed with an all-black cast. That’s an untapped literary vein which would give Hollyweird a break from plundering comic books, filming unnecessary reboots and remakes, and playing grab-ass with aspiring actresses. Perhaps Chimamanda Ngozi Adichie might be up to writing some screenplays. Hey, why not?
Should we care about these attempts to write us out of our own culture?
These would never fly. And where did she get that ballpoint pen?
There’s a chance that calling out counterfactual diversity casting will raise charges of “white fragility.” That one is a Robin DiAngelo kafkatrap intended to delegitimize any objection that whites might have for anything that would get blacks howling mad if it were happening to them. Granted, blacks are the touchiest race in the world, while moderation is one of our cultural virtues. Still, that doesn’t mean that whites should grin and bear every single insult, or tolerate each encroachment by cultural Marxism. Not pushing back when necessary is a large part of what got us into today’s mess, so it’s better late than never.
You can buy Return of the Son of Trevor Lynch’s CENSORED Guide to the Movies here
Fortunately, we have a precedent here that may guide us. This wasn’t about a film seen by millions, and thus understandably part of the national conversation, but rather about a Broadway production. Typically, that’s a very limited audience, since only two kinds of people pay much attention to the Broadway scene: New Yorkers rich enough to afford the very pricy tickets, and the type of men who can tell the difference between teal and aqua. Still, there was so much media flapdoodle about it back in the day that it briefly upstaged coverage of the first Middle Eastern spit-in-your-eye war then in development.
Note well, this was long ago. Then, political correctness was an outlandish fad barely getting off the ground floor. (It took three decades before the infection spread to the point that mobs of brainwashed zombies were rioting, looting, burning cities, and wrecking statues — including of Abraham Lincoln — while bedwetting liberal politicians let them run amok for three months.) If the same thing happened now, presumably all the triggering would set off the Big One in California.
Specifically, this precedent was the Miss Saigon controversy. As I recall, the greatest point of contention was that a white actor, rather than an Asian, was playing a major character who is a white/Asian half-breed. (In that case, a pure Asian actor rather than a “Hapa” should’ve been just as “problematic,” but Leftists are missing some basic logic circuits.) Alan Eisenberg — who I presume isn’t Vietnamese –weighed in with a negative opinion about it, and stated sanely:
The casting of a Caucasian actor made up to appear Asian is an affront to the Asian community. The casting choice is especially disturbing when the casting of an Asian actor, in the role, would be an important and significant opportunity to break the usual pattern of casting Asians in minor roles.
For the unhinged version, there was another review that also took the casting decision as a point of contention. I remember this from 30 years ago; how could I forget?
Every civilization gets the theater it deserves, and we get Miss Saigon, which means we can now say definitively that our civilization is over. After this, I see no way out but an aggressive clearance program: All the Broadway theaters must be demolished, without regard for their size, history, or landmark status; all the members of the League of New York Theatres must be lined up against a wall and shot; the New York Times must be firebombed into nothingness and its entire editorial staff (most of whom are composed wholly of gravel and pitch anyway) fed into a stonecrusher and used to repave the West Side Highway; while anyone found to have voluntarily purchased a $100 ticket to Miss Saigon must be sentenced to a lifetime of hard labor and have his or her children cooked and distributed as food supplies to famine areas in the Third World. The authors, one hopes, will have the grace to commit ritual suicide — the atrium of the Marriott Marquis Hotel might be a suitable spot — while Cameron Mackintosh and his production staff should be slowly beaten to death with blunt instruments; this year’s Pulitzer Prize judges in drama could be used for the job.
That bloodcurdling hyperbole wasn’t fedposting. It was the first paragraph of a Village Voice review, authored by Michael Feingold — who I also presume isn’t Vietnamese. It’s one thing to say that a particular play is evidence that civilization is over. It’s quite another to get worked into a lather and discuss feeding the children of ticket-purchasers to hungry Third World cannibals. From the sheer foaming-at-the-mouth vehemence, I almost could imagine the reviewer sharpening a filleting knife in hopes of going Sweeney Todd on them, too.
So if it’s long established by good liberal opinion that casting whites as Asians or half-Asians is practically a crime against humanity, then it’s just as wrong to cast blacks in white roles. There are bullshit artists who specialize in making up talking points larded up with academic buzzwords to justify anti-white double standards, but it’s not remotely plausible to explain this away with whataboutism, making amends for something that happened too long ago for anyone to remember, or some other disingenuous excuse.
Three decades ago, the Miss Saigon incident caused a reeeeing heard around the world, one that overpowered Saddam’s air raid sirens for a hot minute. If the play’s casting decisions were unsuitable, then in response to the very same thing in The Tragedy of Macbeth, I haven’t heard a peep from good liberal opinion. Up to this point, this has been the elephant in the room that nobody has mentioned. It’s time to call it out. They need to stop getting away with trying to erase our culture.
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32 comments
It’s worth pointing out that this isn’t the first time that black actors have been cast in Macbeth. Orson Welles famously put on a stage production of Macbeth with an all-black cast in New York way back in 1936, although he at least had the sense to move the setting to the Caribbean instead of Scotland. Interestingly, the production was at first condemned by the Harlem Communists because they believed Welles’ intention was to make a parody of Shakespeare, and even tried to physically assault Welles.
Welles probably did this more for the novelty value than out of a desire for diversity casting, however, given that non-whites don’t make many appearances in his films. Indeed, even when non-whites were featured in his films, he had Charlton Heston play the Mexican lead in brownface in Touch of Evil, and Welles himself played the lead in blackface in his film of Shakespeare’s Othello, something that would of course be unthinkable today.
What Welles was quite different though. He changed the setting of the play, just as Kurosawa has transferred it to medieval Japan in a magnificent movie. So, in these cases, casting blacks or Japanese was completely justifiable.
I also will not be watching this tragedy.
I recently commented to someone who complained about the increasing “diversity” of TV commercials and movies that they are not getting more diverse. They are getting more black. Asians, Hispanics and Muslims appear in TV and movies probably at or even a bit below their percentages of the population. Whites, of course, are way below our 57.8% (according to the 2020 Census). Blacks seem to be around 60-65% of TV commercials.
Way back in 1965 Larry Olivier put on the blackface and gave an immortal film performance as the lead character in Othello. In 2021 that was too much for some wokesters who gave him the bum’s rush or, more precisely, gave the heave-ho to a professor who had the temerity to show the film to the college age cretins. It was, as always, the crime of the century. Why, the kiddos were traumatized. To see the immortal Larry Olivier in blackface, that’s not the kind of thing one gets over quickly. Blacks can play White Shakespeare characters all day long, but a White man plays the Moor Of Venice is like Tulsa redux.
Here one can note that Othello was NOT black. The Moors were not black Africans, but Arabs and Berbers from North Africa. In addition, Shakespeare’s Othello is a seaman, and this is understandable, because the North African (Maghrebian) Arabs and Berbers were sailors and pirates, while black Africans were never seafarers. The Maghrebian Othello was, of course, darker than the average Italian, but he was white.
I agree with Kök Böri that to think of Othello as Berber is to imagine him as Shakespeare did.
St. Augustine, despite routinely now described as “North African” or merely “African”, was almost certainly white – white like us. Ditto Hannibal. The ancient Greeks were mostly white like us. Romans of the great age of Cicero and Caesar were more Nordic than Romans and Neapolitans today. Whites as a race have been shrinking geographically, as well as becoming increasingly widely de-Nordicized, for millennia within the Old World (while of course dramatically expanding in the New, until our postwar period). In ancient times, much of the Middle East and North Africa was what we would today call “white” (if not Nordic). It is not unreasonable to assume further that the dewhitening process has been progressing everywhere continuously due to our race’s genetic recessiveness. Thus, I suspect the ancient Levantine and Maghrebi and Persian peoples were much whiter than in the time of the Moors and later Crusades, and that they were whiter in the latter times than today. I would bet that Avicenna and Averroes, Saladin and Ibn Khaldun, were all whiter than today’s modal Arabs (let alone the criminal scum in places like Marseilles).
Well, Avicenna was Persian, and Saladdin was Kurd, i.e. they both were Iranoaryans. Young Persian children have blonde hair and blue eyes.
My ancestors Kıpçaklar/Kumanlar have had blue eyes and fair hair. The famous Beybars-Baba, Amir of Mamluks, had blue eyes. The dark eyes and black hair some of their descendants have got as result of mixing with the Eastern Türkic and Mongol tribes, such as Jongars/Kalmyks and Mangyts. But Mongolian elements are stronger in the East of the Great Steppe (Qazaqstan) and practically non-existent in the West (i.e. West of the Edil/Volga), in Northern Caucasus, on the Qoban River, or on the coasts of the Azov Sea.
The interracialism doesn’t have the effect that contemporary Hollywood want’s because Frances McDormand is ugly, can’t act, and is married to Joel Cohen. Who cares who or what she French kisses. Nobody is this film must have an English or Scottish accent. The Congolese actor Samuel Jackson did a laughable imitation in ‘Othello.’
I don’t think Francis is ugly. At least in the movie “Fargo”, I thought she was quite attractive although pregnant.. If she is ugly now, it is probably because she is getting old.
I’m so sick and tired of all this blackwashing of our history and culture!
I’ve always taken Fargo not to be a slander on small town White American life but as a vindication of it. The movie depicts the policewoman and her husband as having a homey Norman Rockwell life with their “you betchas” and they seem naïve and simple. But the heroine is a slow moving pregnant White woman who poses as a hayseed but in reality is a fast moving barracuda, and as the evil begins to rise she inexorably stamps it out with extreme prejudice. Her final speech (“you did it for a bit of money”) validates the values of the old America of better and simpler and more moral times.
Indeed, they subverted their point with that.
I feel the same way about Fargo. Plus, it is an almost entirely white movie (save for the minor character of Shep).
Sure, sure. And did you like that line where the two airheaded hos laughed about at least one of their two evil customers looking funny because he was “uncircumcised”. They just had to include that in the script. There must be a dozen things that could make a man look “funny” but the scum who came up with this whole piece of crap couldn’t help themselves. With or without that line, this film is unbelievably bad.
Don’t tell me this is dumb movie is some kind of high level satire/black comedy that I’m too uncool to grasp.
The obvious discomfiture of the actors sampled above makes plain they are aware their portrayals have no historical or textual credibility, and are being offered up purely as an act of spite or desecration. My advice is to simply ignore such travesties or indeed anything featuring ugly mumbling sub-saharans, and to advise others to do the same. Polanski’s superb Macbeth is sufficient to render subsequent filmic adaptations redundant, even if attempted sincerely, let alone as a vehicle for pissing on European history and culture.
This this this! Spite and desecration, such a perfect summary.
Kudos. It’s important to highlight the double standards. It’s important to bring the correct tactics to the war of the words. Don’t bring a knife to a gun fight… Don’t bring a Capitol Hill right to a left wing media event.
Colorizing white roles is here to stay for the foreseeable future. But the left needs to be taken to task for hypocrisy. Note the recent complaints by Sarah Silverman about “Jewface” – non Jewish actors playing Jewish roles. Then weeks later she is sending up Christmas in a TV show with mostly Jewish actors/producers. She used to be more interesting when she took aim at everyone (including Jesus), but now she doling out the same old leftist woke propaganda. Real original thinker now, eh?
Note the recent complaints by Sarah Silverman about “Jewface” – non Jewish actors playing Jewish roles.
I would say that those complaints are really stupid. In one of the best known films in the world history of cinema, Once Upon A Time in America, the Jewish gangsters were played by non Jewish actors, WASPs and an Italian, Robert De Niro. Everybody knows that this was a good film. Would it be better with Adam Sandler and Ben Stiller and Rob Schneider (just as examples) and so on?
Another production I won’t watch, so I’m appreciative for Beau’s thoughtful review.
I was in a production of Macbeth a few years ago, in one of St. Louis’s community colleges. Oddly enough, for this time and age, there were no blacks in the cast. They didn’t show up, and the director was too concerned with a feminist interpretation to go racial, but it was pretty solid and gory. As Duncan, I was well soaked in blood.
I didn’t care for Polanski’s Macbeth. I thought it too nihilistic, and Macbeth isn’t a nihilistic play. There are good guys and bad guys, and the good guys win.
As for whites playing blacks, it kind of happened a few years ago when a production of Othello was set in an African country with an all-black cast, except Patrick Stewart played a white Othello…a twist on the racial foreigner leading an army.
I saw the Othello with Olivier. it was very good, Olivier going for a Jamaican accent, and in blackface, he kind oof looked black, although Othello is actually described as a Moor, and that can go from black to semi-arab. I also liked seeing a very young Derek Jacobi as Cassio, and Desdemona was played by Maggie Smith…not as the aged grande dame of Downton Abbey, but a stunning redhead.
I was also in the Shakespeare company’s production of Romeo and Juliet. As is the case now, you almost have R&J mixed race cast, our Romeo a Pakistani, and Juliet very white.
The setting was 1860’s America…the director wanted to model it on Gangs of New York.
During the Covid panic in 2020, all plays were cancelled, but the Shakespeare Company came back in 2021 to do an outdoor King Lear…with an all-black cast, their way of cozying up to BLM. HAD to do something for blacks to start a ‘dialogue’ on race, etc.,
The talk of Fargo is interesting. Is it pro or anti middle America? I agree that it is sympathetic, although you note that the crazy killer had blonde hair, and it looked like a dye job.
One thing stood out for me in the film. When Frances McDormand is at the murder scene, an officer notes a strange license plate with a “D” at the start. She says something like “well, I hate to break the news to you, but that means a Dealer plate.” So they start the search that leads to the crooked car dealer.
Okay, I’ve worked in police and security departments, and I can assure you that ANY police officer knows that a “D” at the front means dealer plates. That’s just so obvious, and I understand we had to make our heroine look smart and capable, but that still grates me. They could have written something else. I’m sort of hedging: is the film making fun of locals or not? Sort of like Forrest Gump? It was praised as a movie about complementing simple values, but the Gump is essentially retarded, and of course a southern retard at that. maybe it’s simply an example how the literary/screenwriting world simply cannot portray Americans with any sympathy because they know nothing whatsoever about life away from the coasts.
Fargo had quite a bit of subtle mockery in it. I understand that it was informed by a certain feeling of alienation the Coens had about the place. I might could review it, unless Trevor beats me to it.
To be fair, there is quite a lot of mockery of their own tribe in Coen Bros movies… some of it benign and self-ironic, some it pretty vicious as in “Miller’s Crossing”, “Barton Fink” and even in “A Serious Man”. The mockery in “Fargo” is overall pretty benign for my taste.
The picture with examples lacks Anne Boleyn, the English Queen of the 16th century, played by some Jodie Turner-Smith, a black actress.
Did you hear they are making a move about the last years of MLK? And Tom Hanks will play MLK. They wanted Mel Gibson, but he didn’t have any children who got married to a Negro, so they picked Tom Hanks instead. Just Joking of course. Despite the unfortunate choice of TH’s son for a bride, TH is still white and this would never be allowed.
Is he? Are you sure? When I first saw Tom Hanks movies in the 80s, I initially thought he had a bit of Negroid in his DNA. I may be totally wrong in my hunch, but I’d like to know his genetic profile. A lot of basically white Americans have a “little extra” in their genes. The One Drop Rule (and its attendant cultural proscriptions) wasn’t always perfectly observed or enforced. I’ve noted in previous comments that this issue of defining “Who is White?” is one which will eventually confront the future Ethnostate, even if irrelevant for the present, as we need to add to our circle as much as possible (within reason; Justice Clarence Thomas is a good and honorable man, but he still ain’t white, even if his jurisprudence is a net-plus for white American interests).
It would be amazing, when MLK would be played not by Tom Hanks, but by Jackie Chan. Why not? If the Scots could be played by the blacks, why the Chinese could not play a black politician? And would the blacks scream about the Asian “racism” in such a case?
In related news, Maureen Lipman has very bravely voiced her concern that a non-Jewish actress, Helen Mirren, will be portraying Golda Meir in an upcoming movie. This is the so-called ‘Jewface’ phenomenon identified by comedienne Sarah Silverman and forensically analysed by British intellectual and cultural critic David Baddiel. Lipman likened the enormity to having Sir Ben Kingsley play Nelson Mandela — that is to say an act of gross cultural appropriation from which any decent person would recoil. Presumably the anachronistic casting of black actors with ‘Ebonics’ or ‘Sarf Lundun’ diction in historical European settings is equally objectionable to Lipman, Silverman and Baddiel and they will therefore be giving the thumbs down to Joel Coen’s version of the Scottish Play.
I’m sure they’ll be shocked, shocked!
Would assume Lipman wants to play the role herself.
The real comedy would be making hoodrat blacks recite the complete works of Shakespeare; the tragedy is it’ll never happen. I never bothered to get into William’s work earlier in life so I’m unacquainted with the artistic greatness of one of Britain’s greatest sons. The palimpsestualizing of history via mockery by the self-chosen-coen-ites would make Richard Burton jump off the wagon into his grave at the sight of this cast. Wikipedia has Francis McDormand as one of the greatest actresses of her generation. Fargo’s the only thing I’ve seen of hers or theirs and wasn’t impressed with her performance. Good film but she’s no Ingrid or Meryl. I nominate transracial Lupita Nyong’o as Jerry Lundegaard for the remake. Tragicomedy is that Mel and Michael Richards’ rages were too premature, an anachronism that belongs in this decade to trigger insufferables like whoopi goldberg, only after laughing at Ted in blackface. Guess that’s disappeared like epstein’s black book. No thanks, I’ll pass on watching and still give two thumbs down and the middle digit up.
Pretty sure the film is anti-woke disguised as woke. The black Macbeth is manoeuvred by his scheming white wife to kill a white king. Coen includes a moment in which she actually drugs him. BLM anyone? Most telling, a Semitic-looking aide seems to kidnap Fleance at the end of the film, to do with him who knows what. And the aide has also paid the witch to keep Fleance in hiding in the meanwhile. Big change from Shakespeare’s ending.
If the film were truly woke, King Duncan, his son, Banquo, and Fleance would be black; and Macbeth would be white. And the Semitic-looking scheming aide who hovers behind Macbeth’s throne would certainly be jettisoned. In fact, I pointed all this out in an IMDB review that was immediately deleted from the user reviews so I assume I’m onto something.
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