IMDb रेटिंग
5.3/10
8.4 हज़ार
आपकी रेटिंग
अपनी भाषा में प्लॉट जोड़ेंShakespeare's epic play is translated from page to screen, with the gender of the main character, Prospero, changed from male to female.Shakespeare's epic play is translated from page to screen, with the gender of the main character, Prospero, changed from male to female.Shakespeare's epic play is translated from page to screen, with the gender of the main character, Prospero, changed from male to female.
- निर्देशक
- लेखक
- स्टार
- 1 ऑस्कर के लिए नामांकित
- 2 जीत और कुल 5 नामांकन
David Scott Klein
- Prospera's Husband
- (बिना क्रेडिट के)
Bryan Webster
- Guard
- (बिना क्रेडिट के)
फ़ीचर्ड समीक्षाएं
Julie Taymor (Frida, Titus) sets her sights on the Bard's final masterpiece, recasting Prospero as Prospera (Hellen Mirren) and letting the magic and romance loose in this very different take on The Tempest.
First, what works? Hellen Mirren does, rather unsurprisingly, and the art direction of photography are consistent with the vision of the woman who gave us Titus back in 1999. Kudos as well to the ever-watchable David Strathairn and Djimon Hounsou.
What annoys? Now we enter very subjective ground. This beautiful, deceptively simple play is turned into an amped up to the max, loud and frantic film. The electric guitar whines are painfully out of place, and Russell Brand, never guilty of subtlety on a good day, will make you claw your own eardrums out. It's almost as if Taymor had forgotten we were right there with her cast, right behind the camera, instead of sitting 50ft back in a packed theater.
This has proved an incredibly divisive film, and I feel split right down the middle on it. I admire Titus, in my mind one of the best Shakespeare adaptations in history, but whereas Taymor's turbocharged visuals and loud, often trashy use of sound and effects served as a perfect illustration for Shakesepare's bonkers gore-fest, it diminishes the more mature, heartfelt qualities of this play. The Tempest is a great playwright's swan song, the work of an aging, mature artist. Why would you give us an overly loud, ADD-afflicted MTV version?
Ultimately, this frustrating missed opportunity makes you wonder, did Taymor have her Shakespeare mixed up all along. Rather than give us "the stuff that dreams are made of", she serves us "a tale, told by an idiot, full of sound and fury, signifying nothing".
First, what works? Hellen Mirren does, rather unsurprisingly, and the art direction of photography are consistent with the vision of the woman who gave us Titus back in 1999. Kudos as well to the ever-watchable David Strathairn and Djimon Hounsou.
What annoys? Now we enter very subjective ground. This beautiful, deceptively simple play is turned into an amped up to the max, loud and frantic film. The electric guitar whines are painfully out of place, and Russell Brand, never guilty of subtlety on a good day, will make you claw your own eardrums out. It's almost as if Taymor had forgotten we were right there with her cast, right behind the camera, instead of sitting 50ft back in a packed theater.
This has proved an incredibly divisive film, and I feel split right down the middle on it. I admire Titus, in my mind one of the best Shakespeare adaptations in history, but whereas Taymor's turbocharged visuals and loud, often trashy use of sound and effects served as a perfect illustration for Shakesepare's bonkers gore-fest, it diminishes the more mature, heartfelt qualities of this play. The Tempest is a great playwright's swan song, the work of an aging, mature artist. Why would you give us an overly loud, ADD-afflicted MTV version?
Ultimately, this frustrating missed opportunity makes you wonder, did Taymor have her Shakespeare mixed up all along. Rather than give us "the stuff that dreams are made of", she serves us "a tale, told by an idiot, full of sound and fury, signifying nothing".
The Tempest is not the most riveting drama, the larger realization is after all a certain weariness with it. This is given to us as a magician who halfway through the story abandons his powers of illusion, who after conjuring to him the characters and plotting the story of revenge pauses to reflect on the emptiness of the endeavor. It's still powerful then, because we are all Prosperos alone in our island with the thoughts we conjure up to inhabit.
In Shakespeare's time, the inspiration for Prospero must have likely come from the scandalous topic of John Dee, the communion with spirits and visions through crystals certainly point at that as well as more broadly the notion of a benign magic. Magic since well before Dee and up to Crowley has tried its best to mask in so much hoopla what other spiritual traditions make clear from the start: that man is an embodied consciousness with the ability to direct that consciousness to vision. Shakespeare no doubt understood this was exactly his own art, a rich and complicated magic of conjured vision in peoples' minds.
So if this is to be powerful, you have to adopt a very intricate stance. Show both the power of illusion as vision and, contradictory, the emptiness of it, the fact it is underpinned by an illusory nature of reality. Greenaway masterfully did this in his Prospero film by having Prospero's creation of the play as vision, the vision lush and wonderful, and yet at every turn shown to exist on a stage.
Taymor is too earnest to strike this stance, in fact judging by the cinematic fabrics here she seems unsure of what direction to follow. She is an earthy woman so intuitively builds on landscape, volcanic rock under our feet. Pasolini could soar in this approach judging from his mythic films, her approach is too usual and without awe. The magic is also too ordinary. A few movie effects cobbled together in earnest as something to woo simple souls like Trinculo. Compared to the novel richness of Greenaway this feels like discarded Harry Potter work. And the cinematic navigation is without any adventure, as if Taymor didn't believe there was anything for her to discover outside the play, to conjure up in the landscape itself by wandering to it, so she never strays in visual reflection.
Mirren conveys the reflection as best she can, but that is all here, too little.
In Shakespeare's time, the inspiration for Prospero must have likely come from the scandalous topic of John Dee, the communion with spirits and visions through crystals certainly point at that as well as more broadly the notion of a benign magic. Magic since well before Dee and up to Crowley has tried its best to mask in so much hoopla what other spiritual traditions make clear from the start: that man is an embodied consciousness with the ability to direct that consciousness to vision. Shakespeare no doubt understood this was exactly his own art, a rich and complicated magic of conjured vision in peoples' minds.
So if this is to be powerful, you have to adopt a very intricate stance. Show both the power of illusion as vision and, contradictory, the emptiness of it, the fact it is underpinned by an illusory nature of reality. Greenaway masterfully did this in his Prospero film by having Prospero's creation of the play as vision, the vision lush and wonderful, and yet at every turn shown to exist on a stage.
Taymor is too earnest to strike this stance, in fact judging by the cinematic fabrics here she seems unsure of what direction to follow. She is an earthy woman so intuitively builds on landscape, volcanic rock under our feet. Pasolini could soar in this approach judging from his mythic films, her approach is too usual and without awe. The magic is also too ordinary. A few movie effects cobbled together in earnest as something to woo simple souls like Trinculo. Compared to the novel richness of Greenaway this feels like discarded Harry Potter work. And the cinematic navigation is without any adventure, as if Taymor didn't believe there was anything for her to discover outside the play, to conjure up in the landscape itself by wandering to it, so she never strays in visual reflection.
Mirren conveys the reflection as best she can, but that is all here, too little.
I am not a fan of male characters in Shakespeare being played by women, although it is only fair when you remember that when first written, all parts were played by men. However, I thought Helen Mirren did a brilliant and believable piece of work. At least the text had been adapted to reinforce the fact that she was female and we weren't expected to believe that she was Prospero and not Prospera. I thoroughly enjoyed this screen adaptation and although scenes that I looked forward to were cut out e.g., the Goddesses at the feast, the CGI was very clever. I thought that it was a mistake to make the casting of Caliban an African man, although he was disguised with scales and what looked like vertiligo. The purists see this play as about man's fear of anything different,(the other) and this plays into the post colonial criticisms by making the man black. Although Ben Wishaw did a sterling job as Ariel, it was a bit disconcerting to see his thin body running around naked. Especially at the beginning when he had to lie about with his leg discretely crossed in case he revealed anything he shouldn't. However, having acted in this play and seen several versions this was one of the best.
The Tempest is a wonderful but complicated play, and while I can understand the reactions of those who disliked it, I thoroughly enjoyed this one who I saw for the treasure that is Helen Mirren. It is not perfect, there are times where the delivery was a little too garbled or fast and Russell Brand gives a performance so lacking in subtlety that he did seem out of place to me. However, Helen Mirren is as ever magnificent as Prospera, with a commanding presence, intense delivery and sense of character and an urging sense of bitterness. Felicity Jones is an excellent Miranda, David Strathairn's Alonso is magnetic and Dijimon Hounsou is a Caliban that is both terrifying and sympathetic. Alfred Molina and Chris Cooper prove themselves to be scene-stealers, Ben Whishaw is an effective Ariel who as a spirit looks wonderful and Alan Cumming plays it straight and is good at it no matter how strange it initially is. Julie Taymor's direction is compelling and creative, especially in the character relationships, you feel the spiritual connection between Ariel and Prospera, the sadness of Caliban and Prospera's sorrowful weariness at the end and the idea to have Caliban as Prospera's shadow self was convincing. The visuals are spectacular, right from the palaces, towers, columns and the scenery itself helped by well-above average effects and sweeping cinematography. The dialogue is as poetic and witty as ever, and while some may find the rock music jarring, while it is not my kind of music, it did give some energetic flavour to the songs. All in all, not a movie that everybody is going to like, but while not perfect I thoroughly enjoyed it. 8/10 Bethany Cox
Wow this is one of those movies that I am completely baffled about the low ranking on here. I agree with some of the critiques that the sound mixing could have been better but overall the film was gorgeous, overall well acted and very understandable for such a difficult play.
Someone mentioned poor special effects...I thought they were wonderful. Clearly the big money goes to plenty of trite blockbusters leaving little for pieces of art and beauty such as this. But what they lacked in money they made up for in creativity....I absolutely loved the rendition of the spirit Ariel. There was plenty of gorgeous scenery both real and mixed with CGI.
Julie Taymor never disappoints me and this is no exception!
Someone mentioned poor special effects...I thought they were wonderful. Clearly the big money goes to plenty of trite blockbusters leaving little for pieces of art and beauty such as this. But what they lacked in money they made up for in creativity....I absolutely loved the rendition of the spirit Ariel. There was plenty of gorgeous scenery both real and mixed with CGI.
Julie Taymor never disappoints me and this is no exception!
क्या आपको पता है
- ट्रिवियाThe decision to switch the gender of the lead character was a diving board to a whole new appreciation of the play. It had everything to do with Dame Helen Mirren and a coincidental exchange that writer, producer, and director Julie Taymor had with Mirren. When Taymor encountered Mirren at a party, she had already envisioned Mirren in the role and their conversation cemented her decision. "We were talking Shakespeare", Taymor recollects, "and she had no idea I was planning this film when she mentioned that the first Shakespeare she ever did was Caliban in 'The Tempest', and she actually said to me, 'You know, I could play Prospero-as a woman.' And I said, 'Do you want to? Because I've been preparing a film version of 'The Tempest' with exactly that in mind.' And, fortunately, she said 'yes'."
- गूफ़The chessboard that Miranda uses is set up 90 degrees rotated from its proper position. Facing the board, each player should have a white square on the far right of their back rank. This board is positioned so that the black squares are on that side.
- क्रेज़ी क्रेडिटPart of the closing credits are an underwater sequence of Prospera's books sinking into the ocean depths.
- कनेक्शनFeatured in Breakfast: 12 सितम्बर 2010 को प्रसारित एपिसोड (2010)
टॉप पसंद
रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
- How long is The Tempest?Alexa द्वारा संचालित
विवरण
- रिलीज़ की तारीख़
- कंट्री ऑफ़ ओरिजिन
- आधिकारिक साइट
- भाषा
- इस रूप में भी जाना जाता है
- Kỷ Nguyên Giông Tố
- फ़िल्माने की जगहें
- उत्पादन कंपनियां
- IMDbPro पर और कंपनी क्रेडिट देखें
बॉक्स ऑफ़िस
- बजट
- $2,00,00,000(अनुमानित)
- US और कनाडा में सकल
- $2,77,943
- US और कनाडा में पहले सप्ताह में कुल कमाई
- $42,436
- 12 दिस॰ 2010
- दुनिया भर में सकल
- $4,05,861
- चलने की अवधि
- 1 घं 50 मि(110 min)
- रंग
- ध्वनि मिश्रण
- पक्ष अनुपात
- 2.35 : 1
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