Tags : Cinelogue

I would probably break my back trying to describe the myriad ways in which Majewski delicately conjures the religious and political upheavals of the time and makes a case for their profound influence on Bruegel’s work, but that’s probably best left to a historian. I was struck most by Majewski’s typically jaw-dropping approach to the material. His body of work continues to be marked by drastic technological and artistic innovations, including the 33-short-films-within-a-film approach of Blood of a Poet and the hand-held digital of The Garden of Earthly Delights. But here, Majewski takes his biggest leap yet into the domain of digital layering and CGI while keeping the painterly, tableau-like blocking of much of his work intact.

At this point I’m convinced there’s nothing that can be done to save the play, which is probably one of Bill’s weakest even without the misogynistic problem. Zeffirelli, Burton, and Taylor have done all they can, and it’s certainly an admirable attempt, but it only further convinces me that this one Bard play that can’t be made into a masterpiece.