Monday, August 14, 2017
LADY MACBETH: A VICTORIAN LILITH
Directed by William Oldroyd and starring Florence Pugh as Katherine, Cosmo Jarvis as the groomsman, and Naomi Ackier as the maid
While the carnal lusts and vicious murders in LADY MACBETH left me disturbed, the reviews on the placard in the theater lobby left me confused and not a little irritated. “A Feminist Parable,” screamed the headlines. Really? How did this portrait of a Lady betrayed and abused turn into a Lady vengeful and murderous? And how does this constitute a feminist statement?
The “Lady” of the title is Katherine, newly married and the mistress of a rural farm house in mid-19th-century England. When first seen, her face is chastely concealed by a white bridal veil; when last seen, her prolonged stare into the camera is an implacable, if enigmatic, challenge to the viewer. Another contrast is between her appalling wedding night as a new bride ordered to undress and stand naked against the wall, while her impotent husband abuses himself offscreen; and the penultimate slaughter of said husband (and his horse, too). What transpires in between are the increasing neglect and abandonment by her husband, her torrid affair with the groomsman, and her executions of husband and father-in-law. A complication to all this is the late appearance of a woman demanding redress for the illegitimate baby fathered by Katherine’s errant husband. What is our Lady to do? Bent on removing this unwonted intrusion into her domestic bliss, if that is what it is, she methodically suffocates the child with a pillow. She does her best to cover it all up, while the local authorities grow increasingly suspicious. Terrified at all this, the hapless groomsman escapes into the forest. And Katherine sits down on her couch, glares at us, and—what?
As I said, those inclined to view this as a feminist statement wreak their own violence on this dismal portrait of isolation, sexual frustration, and destruction. It seems to me what we have here is the kind of “feminism” ascribed to the icon of the savage Lilith of the Apocrypha. Books like Sandra Gilbert’s and Susan Gubar’s classic The Madwoman in the Attic, Ann Jones’s Women Who Kill, and Charlotte Perkins Gilman’s story, “The Yellow Wallpaper” all present portraits of women who protest their repression and marginalization through lust, madness, and murder. The “Angel in the House” becomes the “Monster in the House.” Studies like this seem to verge more on pathology than feminism. Putting it another way, feminist resistance, as we have come to know it through the rhetoric over several centuries, from Mary Wollstonecraft in the late 1790s to Camille Paglia and Betty Friedan in our present day, is twisted into a lame justification for a murderous anti-male bias.
I wonder, does this not commit an injustice of its own on the ideal of the feminist drive for dignity and equality?
No question, Katherine is a Victorian Lilith. Her crimes, including the almost casual shooting of her husband’s horse and her methodical suffocation of the innocent step-son are scenes carefully and graphically staged, difficult to watch and even more difficult to justify on any terms other than her own selfishness and bloodlust. Best consider LADY MACBETH as an indictment of Victorian society and as a psycho-pathological study of a woman wronged beyond endurance, which is truly terrifying and disturbing on its own terms, rather than as a feminist statement. The latter interpretation, I submit, is more disturbing than anything in the film.