Alternate Best Supporting Actor 2021: Alex Hassell in The Tragedy of Macbeth

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Alex Hassell did not receive an Oscar nomination for portraying Ross in The Tragedy of Macbeth. 

A masterstroke of this version of Macbeth is taking an idea first introduced in the 1971 Roman Polanski version, which was to take Ross from merely being an expository and functional role, and make him a co-conspirator with Macbeth. Joel Coen took this idea and expanded it even further to make Ross seemingly almost as essential of a character as the titular Macbeths. In the role of Ross is unknown Alex Hassell, which if a Coen casts an unknown actor in a role it is typically a sign of promise, and that is the case with Alex Hassell who gives a particularly unique Shakespearean turn. A turn where the amount of dialogue is limited, the soliloquies nearly nonexistent, and so much of the meaning is purely in the margins of the work. Now in part we do get the more traditional performance you'd expect at Ross, though still notable already in a way just by how incredibly piercing Hassell's eyes are as is. When speaking in general audiences Hassell emphasizes a most loyal servant ready to praise, to respond and deliver whatever must be heard with a precision in his delivery but also just an unquestioned sincerity. Hassell though immediately shows another side as we see him speaking of the treacherous thane that was defeated in the battle that took place before the film begins. Hassell's performance changing to the avenging anger for the king, even though just there to deliver more exposition that should mostly affect Macbeth, however there is another color that Hassell suggests another face of Ross per the audience at hand. A loyal servant for the king, a proper warrior for the warrior of Macbeth. 

 

Hassell's performance in the early crowd scenes is so particularly notable as there is this state of calculation between his lines still of general exposition, Hassell shows a man not just stating things for the King, he's considering every element in his own mind. After Macbeth has killed the king for his own, we get a scene that in the play just is there to establish that Macbeth has been made king and Macduff is entrusting of this new event. Ross is merely there to facilitate. It takes a whole new color just even in the way Hassell awaits with steely and sinister eyes of his denoting a tempered ambition. An expression that shifts on this dime in Hassell's performance a wonderful performance as his face goes from sinister cunning, to a sympathetic unease for the death of the King once Macduff approaches him, Hassell presenting Ross as just a man considering the developments with no thoughts of it in terms of his own fate. His face returning to its former state the moment Macduff leaves. We get a scene that exists as written yet takes a new meaning and even nearly gives Ross a soliloquy as he speaks to an old man (here played by Kathryn Hunter who also plays the witches, and is perhaps still the witches). Hassell gives the commentary on the situation a different tone, a meaning, a consideration for the potential of what has happened perhaps for one's self, as exemplified by Hassell's final reaction that is this brilliant movement of his eyes as though Ross has conceived his plan. 

 

A plan we see in action as Ross in this version is the third assassin sent to assist the other two in killing Macbeth's old confidant Banquo and his son Fleance, the boy destined to be king by the witches. Another masterstroke of this version is instead of Fleance escaping to fulfill some historical need as Shakespeare left it, Coen changes it as Ross searches for the boy and finds him. Hassell's expression in the discovery this enigmatic and nefarious stare, followed by a slight smile denoting more than a thought, a conspiracy. Hassell afterwards becomes this presence, this dark presence, that represents this dagger in the night, the truly brilliantly ambitious man who acts not bluntly like Macbeth or the previous treacherous Thane, but with precise and covert action. Every reaction of Hassell's becomes a treasure therefore, such as when seeing Macbeth chasing a ghost and Hassell's delivery is the proper expository Ross as he speaks of only surprise and concern, followed again by this hint of glee as seeing a weakness in the current King. Hassell's greatest scene is perhaps visiting the Macduff family just before their massacre which he is clearly part of. Hassell speaking towards the family with warm assurance as his eyes darting towards the windows awaiting for the murderers to the kill the very family he's talking to. Hassell becoming this demonic presence that prophecies this doom. Despite helping with the murder he is the one who tells Macduff of the deaths of his family, and one can just watch Hassell's eyelids to see an acting masterclass. This as his whole stature, and his voice do not falter, yet in just the way he positions his eyes switches from the caring bearer of bad news, to the fiend manipulating the situation to prep the downfall of Macbeth to insert himself in his stead. The promise of such as Hassell enters to bring Malcolm the new king Macbeth's crown and his head. Now the new loyal servant, which is immediately followed by Ross retrieving Fleance, the next boy in line, who no doubt will be in his sway. Again the true cold ambitious fiend as he rides off towards his quest to become king, or at least the true mind behind it all. The concept itself is such a fantastic piece of writing in the adaptation, which yes why Coen should've been nominated even though he didn't change the dialogue, but Hassell takes the seed and grows it into something truly special. A performance in which every moment speaks multiple voices and multiple states of mind. Creating the true conspirator, the true man seeking power by standing behind it, with a knife tightly grasped to end one's life from behind. 

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