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The Tempest

  • 2010
  • PG-13
  • 1 घं 50 मि
IMDb रेटिंग
5.3/10
8.4 हज़ार
आपकी रेटिंग
Helen Mirren and Djimon Hounsou in The Tempest (2010)
A power grab finds Prospera (Mirren), the rightful Duchess of Milan, exiled to a remote island with her young daughter, Miranda (Jones). Asserting influence over the island, Prospera develops a new enemy: the slave Caliban (Hounsou), who looks to raise a rebellion against his foe.
trailer प्ले करें2:31
7 वीडियो
99+ फ़ोटो
ट्रेजेडीपीरियड ड्रामाकॉमेडीड्रामाफ़ैंटेसीरोमांस

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
    • Julie Taymor
  • लेखक
    • Julie Taymor
    • William Shakespeare
  • स्टार
    • Helen Mirren
    • Felicity Jones
    • Djimon Hounsou
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    5.3/10
    8.4 हज़ार
    आपकी रेटिंग
    • निर्देशक
      • Julie Taymor
    • लेखक
      • Julie Taymor
      • William Shakespeare
    • स्टार
      • Helen Mirren
      • Felicity Jones
      • Djimon Hounsou
    • 57यूज़र समीक्षाएं
    • 77आलोचक समीक्षाएं
    • 43मेटास्कोर
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
    • 1 ऑस्कर के लिए नामांकित
      • 2 जीत और कुल 5 नामांकन

    वीडियो7

    The Tempest: U.S. Trailer #1
    Trailer 2:31
    The Tempest: U.S. Trailer #1
    The Tempest: International Trailer
    Trailer 2:25
    The Tempest: International Trailer
    The Tempest: International Trailer
    Trailer 2:25
    The Tempest: International Trailer
    "Miranda"
    Clip 0:47
    "Miranda"
    "Caliban"
    Clip 1:00
    "Caliban"
    The Tempest: Miranda
    Clip 0:46
    The Tempest: Miranda
    The Tempest: Caliban
    Clip 1:00
    The Tempest: Caliban

    फ़ोटो132

    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    + 126
    पोस्टर देखें

    टॉप कलाकार14

    बदलाव करें
    Helen Mirren
    Helen Mirren
    • Prospera
    Felicity Jones
    Felicity Jones
    • Miranda
    Djimon Hounsou
    Djimon Hounsou
    • Caliban
    Russell Brand
    Russell Brand
    • Trinculo
    Jude Akuwudike
    • Boatswain
    Reeve Carney
    Reeve Carney
    • Prince Ferdinand
    David Strathairn
    David Strathairn
    • King Alonso
    Tom Conti
    Tom Conti
    • Gonzalo
    Alan Cumming
    Alan Cumming
    • Sebastian
    Chris Cooper
    Chris Cooper
    • Antonio
    Ben Whishaw
    Ben Whishaw
    • Ariel
    Alfred Molina
    Alfred Molina
    • Stephano
    David Scott Klein
    • Prospera's Husband
    • (बिना क्रेडिट के)
    Bryan Webster
    Bryan Webster
    • Guard
    • (बिना क्रेडिट के)
    • निर्देशक
      • Julie Taymor
    • लेखक
      • Julie Taymor
      • William Shakespeare
    • सभी कास्ट और क्रू
    • IMDbPro में प्रोडक्शन, बॉक्स ऑफिस और बहुत कुछ

    उपयोगकर्ता समीक्षाएं57

    5.38.3K
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    फ़ीचर्ड समीक्षाएं

    5kinolieber

    Lovely to look at

    but impossible to understand. Saw this at the New York Film Festival tonight and must assume that the soundtrack was unfinished because I was able to understand about half of the dialog. It sounded like a mono mix, so maybe it was a temporary soundtrack or was projected incorrectly. The opening scene: completely unintelligible. Nearly every word spoken by Djimon Hisou: completely unintelligible. Hope they fix this because there is much to admire in the film: Helen Mirren's marvelous performance (most clearly spoken and reproduced), the great Ben Wishaw as Ariel, the beautiful music, magical settings, visual effects and the beautiful costumes.
    9shiva777-9-153849

    Excellent Adaptation - Beautiful to Look At

    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!
    gradyharp

    The Essence of The Tempest

    William Shakespeare's THE TEMPEST is probably his last play, written in 1610-11, and as such it has some of the more eloquent passages of soliloquies of any of his works. In the original version the story is set on a remote island, 'where Prospero, the exiled Duke of Milan, plots to restore his daughter Miranda to her rightful place, using illusion and skillful manipulation. The eponymous tempest brings to the island Prospero's usurping brother Antonio and the complicit Alonso, King of Naples. There, his machinations bring about the revelation of Antonio's low nature, the redemption of Alonso, and the marriage of Miranda to Alonso's son, Ferdinand.' Enter Julie Taymor and the imaginative play becomes even more so with her deft re-writing and direction and use of visual effects. In Taymor's versions 'the main character is now a woman named Prospera. Going back to the 16th or 17th century, women practicing the magical arts of alchemy were often convicted of witchcraft. In Taymor's version, Prospera is usurped by her brother and sent off with her four-year daughter on a ship. She ends up on an island; it's a tabula rasa: no society, so the mother figure becomes a father figure to Miranda. This leads to the power struggle and balance between Caliban and Prospera; a struggle not about brawn, but about intellect.'

    Taymor and Shakespeare together make the important character of Ariel, Prospera's obedient sprite, a thing of magic: Ben Wishaw darts and floats and flies about apparently in the buff in a most ingenious fashion, delivering his lines in perfect Shakespearean cadence (his 'Full fathom five thy father lies... ' is exquisite). The transformation of Prospero to Prospera is magical with Helen Mirren once again proving that she is an incomparably fine actress (one great moment is her delivery of the lines 'Our revels now are ended. These our actors, As I foretold you, were all spirits and are melted into air, into thin air: And, like the baseless fabric of this vision, The cloud-capp'd towers, the gorgeous palaces, The solemn temples, the great globe itself, Ye all which it inherit, shall dissolve And, like this insubstantial pageant faded, Leave not a rack behind. We are such stuff As dreams are made on, and our little life Is rounded with a sleep.')

    THE TEMPEST is an odd assortment of magic, treachery, young love, silly comedy, and odd goings on, but filled with a cast such as Taymor has selected it jumps alive with passion and glee. Caliban is Djimon Hounsou, Miranda is Felicity Jones, The King of Naples is David Strathairn and his son Ferdinand is young Reeve Carney, Prospera's brother Antonio is Chris Cooper and his sidekick Sebastian is Alan Cumming, and the two actors assigned to the buffoon roles are Albert Molina and Russell brand. Gonzalo is Tim Conti. This tightened Tempest works well though one wonders how much of the opening scenes' shipwreck (due to Prospera's calling upon the tempest) adds to the overall story. Yet in Taymor's vision it all comes together beautifully. The sung portions of the play and the musical sore in general are from the intelligent pen of Elliot Goldenthal. Recommended!

    Grady Harp
    Kirpianuscus

    beautiful at whole

    The kick to see it was Helen Mirren as Prospera .

    The gift of this eccentric, at first sight, is its beauty. Indeed, very easy to critic it but few scenes, references to classics, the locations, the residence of Prospera, the superb Ariel proposed by Ben Whishaw, like the touching Caliban- indeed the recipe of colonialism works, as suggestion in this adaptation , again, by Djimon Hounsou are just inspired option. Not the quality of special effects matters for me, but the fair storytelling of a story easy to escape to director in exagerations. It is not this case.

    It is a beautiful film and Helen Mirren translates in inspired manner the bitterness and the generosity of her Prospera. The opportunity to make a film , not a stage play is used in smart manner. Not the best version. But far to be a modest one.
    chaos-rampant

    Zapped magic

    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.

    इस तरह के और

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    कहानी

    बदलाव करें

    क्या आपको पता है

    बदलाव करें
    • ट्रिविया
      The 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'."
    • गूफ़
      The 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.
    • भाव

      Prospera: We are such stuff as dreams are made on, and our little lives are rounded with a sleep.

    • क्रेज़ी क्रेडिट
      Part of the closing credits are an underwater sequence of Prospera's books sinking into the ocean depths.
    • कनेक्शन
      Featured in Breakfast: 12 सितम्बर 2010 को प्रसारित एपिसोड (2010)
    • साउंडट्रैक
      Darkened Sands
      Performed by Ben Whishaw

      Music by Elliot Goldenthal

      Lyrics by William Shakespeare

    टॉप पसंद

    रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
    साइन इन करें

    अक्सर पूछे जाने वाला सवाल20

    • How long is The Tempest?Alexa द्वारा संचालित

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