The World of Movies: Makibefo
Written by Rachael Crawley
The World of Movies is a series that explores global cinema, drawing on films from many countries, industries and eras. This week, we revisit a familiar tale, reset in Madagascar.
Makibefo.
May contain spoilers.
Shakespeare adaptations have been a staple of film since it began – this year alone, two of them are up for Academy Awards – so it is little surprise that filmmakers around the world have found similar inspiration. Makibefo (Alexander Abela, 1999) takes one of Shakespeare’s most twisted tragedies and moves it to a small village in Madagascar. Abela and his cast and crew turn this classic play into a tightly paced, suspenseful piece.
While the film is in Malagasy, a storyteller (Gilbert Laumord) appears between scenes to explain the story in English, including a long plot synopsis at the beginning. (Subtitles are also included in the Malagasy sections.) It’s an unusual choice, but it works to set the tone – and, I think, alludes to the tale’s universality. Laumord plays the role with a rich style, appropriately grave but emotionally nuanced.
The narration also neatly sums up both the premise and the changes that have been made for its new setting. It is mostly the same as you heard it in literature class: local warrior Makibefo receives a prediction that he will be king. Hearing of this, his wife pressures him to seize the title through regicide. Once the deed is done, Makibefo accedes to the throne, but guilt and paranoia drive him to even more drastic acts.
This ominous tone is pervasive throughout, without being over-the-top. The movie includes some Malagasy music, but primarily relies on ambient sound. Some of its strongest moments are conducted in eerie silence. It has beautiful black-and-white cinematography which adapts well to the area’s landscapes. This stark imagery, heavy on contrast, highlights the harsh life-and-death situations the characters face. I particularly enjoyed the stylization applied to fight and combat scenes.
Makibefo.
With the exception of Laumord, none of the cast had acted previously. As the play is very condensed, the two lead roles are by far the most developed, and both are played well. Martin Zia conveys Makibefo’s reluctant rise to power with a sad vulnerability. Neoliny Dety is a steely Valy Makibefo, and she sustains the character through a descent into remorseful obsession. The two actors have a convincing chemistry, particularly in the early scenes.
The film is surprisingly concise at an hour and thirteen minutes. While the play has been slimmed down, its substance is the same, and it retains the story’s impact. The dialogue is much shorter and snappier than the play, leaving the most famous speeches to the narration. As a result, Makibefo moves along quickly, emphasizing mood and action. Key scenes hold a tight, palpable tension rarely seen on film.
Of all the “fresh” attempts to reinvent Shakespeare, which any film fan has seen a dozen times over, Makibefo stands near the top. Its crisp filmmaking, and deftly combined storytelling styles, create a sharp take on a timeless story. Viewers who discover this overlooked gem are in for that rare treat – an excellent literary and cinematic experience.
Rachael Crawley holds a Master's Degree in Film and Photography Preservation and Collections Management from Ryerson University, and has worked with film in Canada and in Europe. She adores language and cinema, and how these subjects interact with each other.