The Tempest – review
The Tempest is a American film based on the play of the same name by William Shakespeare. In this version, the gender of the main character, Prospero, .film con formaggio con i vermi viridea alberi di natale
Messing around with Shakespeare is the bedeviling vice of directors. Saving him from their excesses is the great and noble duty of actors. This tension between extravagantly visionary stage or screen craft and disciplined acting may be the story of Shakespeare in our times. In this noisy, stormy adaptation, an energetic and for the most part excellent cast marshals considerable resources of wit, discipline and timing in a struggle against the hectic inventiveness that is, characteristically for Ms. Taymor, either the vehicle for interesting theatrical ideas or a sign of their absence. And I do mean theatrical. The movie is a visual stew whose musical sauce, full of lumps and clashing flavors, is provided by Elliot Goldenthal, Ms.
Sign in. Michael McKean shares a surprising pick that made his Watchlist. Watch now. Titus returns victorious from war, only to plant the seeds of future turmoil for himself and his family. Filmed version of Julie Taymor's live theatrical adaptation of Shakespeare's romantic comedy about young lovers and magical sprites.
Eschewing the motif of magic as a metaphor for the illusionism of theater, The Tempest instead foregrounds issues of power. Foremost is the switch from Prospero to Prospera, fiercely played by Helen Mirren. Prospera relinquishes that power without tears, though the heavy sigh she breathes as Ariel the excellent Ben Whishaw tightly laces her corset—the physically deforming embodiment of European female subservience—says more about the reality of motherhood than all the weeping in Stella Dallas ever could. The primal scene of white sailors encountering natives—and failing to recognize their humanity—is made more telling since first contact is made by the drunken Stephano Alfred Molina and the boobish Trinculo a perfectly cast Russell Brand. The scenes involving this would-be usurping trio are hilarious and maintain a campy, frenetic energy that moves the film forward, complicated by the sinister undercurrent of colonialism that is subtly allowed to bubble up from time to time.
It is my favorite of all his plays, containing a line I embrace as my consolation: We are such stuff as dreams are made on, and our little life is rounded with a sleep. The writer who saw more deeply into human nature than any other looked into himself and decided he had finished his work. She does not abjure her rough magic. In a film filled with sound and fury, she rages against the dying of the light. There is no reconciliation or closure. What reads as a poetic acceptance of human mortality plays as the defiance of a magician clinging to familiar tricks. She doesn't capture Shakespeare's tone or his meaning, I believe , but she certainly has boldness in her reinvention.
But there was no cinematic follow-up until after the second world war, when the play inspired a western William Wellman's Yellow Sky and a remarkable sci-fi yarn Forbidden Planet , neither using Shakespeare's text. Then came Paul Mazursky's likable The Tempest John Cassavetes as a self-exiled New York architect , which also dispensed with the text, and Derek Jarman's homoerotic version, which uses Shakespeare's words and turns the masque into a cabaret featuring Elisabeth Welch singing "Stormy Weather" with a chorus of prancing matelots. - The Tempest is a American film based on the play of the same name by William Shakespeare.
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Review: The Tempest
Katy Perry at an event for The Tempest () Chris Cooper in The Tempest ( ) .. This has proved an incredibly divisive film, and I feel split right down the .
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