Migrants prepare to cast off the beach at Shimbiro, Somalia, for a perilous journey across the Gulf of Aden to Yemen and beyond. Photo: Alixandra Fazina/N
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The best of the NS in 2014: World Affairs

Our best pieces from the past year. In this selection, we choose the best foreign affairs coverage and reports from abroad.

From Portsmouth to Kobane: the British jihadis fighting for Isis

By Shiraz Maher.

British jihadis fighting for Isis What motivates the young men who leave Britain to join the murderous fanatics of Isis in the Middle East? Shiraz Maher spoke to dozens of them inside Syria to find out.
 

Life among the ruins: ten days inside the Gaza Strip

By Donald Macintyre.

The grossly asymmetrical casualties inflicted on the Palestinians have obscured another important question: how far have they even been worth it from Israel’s point of view?
 

High heels and hijabs: Iran’s sexual revolution

By Ramita Navai.

For more than 30 years, the Islamic Republic has been obsessively battling against sex, but as with anything that is suppressed or banned, people have learned to sidestep the punitive regulations.  


Miracle of the tsunami

By Xan Rice.

A family lost a son and daughter in the Indian Ocean disaster. Ten years on, they may have found them.
 

Blowback: who are Isis and why are young Brits fighting with them?

By John Bew and Shiraz Maher.

Hundreds of young British men are said to have joined the murderous group, first in Syria and now on its bloody incursion into Iraq. What happens when they come home?  


It is sobering to see how war has taken hold in Ukraine

By Lindsey Hilsum.

There is no question in my mind that Russia stirred up this war to destabilise Ukraine, but how will these people ever trust the government in Kyiv again?  


Can anyone bring back Nigeria's lost girls?

By John Simpson.

President Goodluck Jonathan has no strategy for dealing with Boko Haram – he just hopes the world will forget the 276 youngsters kidnapped by them in April.  


Project Martyr: the British doctor who went to work in Syria

By Martin Fletcher.

In 2011, Rami Habib, a 43-year-old doctor from Leicester, flew to Syria. Since then, he has watched the revolution against Bashar al-Assad fall apart – but he won’t give up.  

 

Two years after the infamous Delhi gang rape, India’s women still aren’t safe

By Samira Shackle.

India is only just beginning to understand the scale of its sexual violence problem. The public discussion in the wake of the Nirbhaya case has been encouraging, but until it translates into action, little will change.

 

At the gates of power: Marine Le Pen and the far right in France

By Charles Bremner.

Under her father, the Front National was the pariah party of France. Now Marine Le Pen has brought it closer to the mainstream – and people are getting worried.  

 

Francis Fukuyama: “America shouldn’t have permanent enemies”

By Sophie McBain.

The American political scientist and author once predicted that liberal democracy had won the battle of ideas. Now he says political Islam is not a serious threat to the west and we should not intervene in Iraq.
 

From Africa to Kent: following in the footsteps of migrants

By Daniel Trilling.

The guardians of Fortress Europe are fighting a lost battle: poor migrants will always try to find a better life for themselves, or die in the attempt. Daniel Trilling traces their steps, from the Middle East and Africa to the Kent countryside.  


Where has the French Left gone?

By Myriam Francois-Cerrah.

The recent dissolution of the government reflects the increasing pressure on Hollande to turn around a dire economic outlook.
 

I saw no evidence of Hamas using Palestinians as human shields

By Jeremy Bowen.

The BBC's Middle East editor reports from Gaza.
 

A tale of two cities: how San Francisco's tech boom is widening the gap between rich and poor

By Laurie Penny.

San Francisco is awash with tech money. Yet this city of innovation is also a place where you have to step over the homeless to buy a $20 artisan coffee.  

Lady Macbeth.
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Lady Macbeth: the story Stalin hated reaches the movie screen

Lady Macbeth grows less psychologically plausible the higher the body count rises.

Lady Macbeth (15), dir: William Oldroyd

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. Two years after its premiere in 1934, it had a terrible review, allegedly by Stalin himself, in Pravda. 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. 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. 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.

Pugh plays Katherine, who is first seen reacting with surprise to a booming singing voice at her wedding ceremony. Unfortunately for her, it’s her husband, Alexander (Paul Hilton). 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. The tone is set early on. He orders her to remove her nightdress. Then he climbs into bed alone. It’s not clear whether she is expected to follow, and a cut leaves the matter unresolved.

Alexander defers to his grizzled father, Boris (played by Christopher Fairbank), who purchased Katherine in a two-for-one deal with a plot of land in north-east England, on important matters such as whether she can be allowed to go to sleep before him. So it isn’t much of a loss when he is called away on business (“There’s been an explosion at the colliery!”). Ordered to stay in the house, she dozes in her crinoline, looking like an upside-down toadstool, until one day she is awakened, literally and figuratively, by the sound of the rough-and-ready groomsman Sebastian (Cosmo Jarvis) sexually humiliating the maid, Anna (Naomi Ackie). Katherine leaps to her rescue and gives Sebastian the most almighty shove. Pugh’s acting is exceptional; fascination, disgust and desire, as well as shock at her own strength, are all tangled up in her expression.

When Sebastian later forces his way into Katherine’s room, you want to warn them that these things don’t end well. Haven’t they seen Miss Julie? Read Lady Chatterley’s Lover? Thérèse Raquin? Well, no, because these haven’t been written yet. But the point stands: there’ll be tears before bedtime – at least if these two can lay off the hot, panting sex for more than 30 seconds.

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. The shifting power dynamic in the house is at its most complex before the first drop of blood is spilled. Indeed, none of the deaths is as affecting as the moment when Katherine allows her excessive consumption of wine to be blamed on Anna, whose lowly status as a servant, and a dark-skinned one at that, places her below even her bullied mistress on the social scale.

There is fraught politics in the almost-love-triangle between these women and Sebastian. It doesn’t hurt that Jarvis, an Anglo-Armenian musician and actor, looks black, hinting at a racial kinship between groomsman and maid – as well as the social one – from which Katherine can only be excluded. Tension is repeatedly set up only to be resolved almost instantly. Will Alexander return home from business? Oh look, here he is. Will this latest ghastly murder be concealed? Oh look, the killer’s confessed. But the actors are good enough to convince even when the plot doesn’t. A larger problem is that Lady Macbeth grows less psychologically plausible the higher the body count rises. Katherine begins the film as a feminist avenger and ends it as a junior version of Serial Mom, her insouciance now something close to tawdry camp. 

“Lady Macbeth” is released 28 April

Ryan Gilbey is the New Statesman's film critic. He is also the author of It Don't Worry Me (Faber), about 1970s US cinema, and a study of Groundhog Day in the "Modern Classics" series (BFI Publishing). He was named reviewer of the year in the 2007 Press Gazette awards.

This article first appeared in the 20 April 2017 issue of the New Statesman, May's gamble

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