A sobering mid-life crisis fuels dissatisfaction in Philip Dimitrius, to the extent where the successful architect trades his marriage and career in for a spiritual exile on a remote Greek ... See full summary »
Documentary film-maker Bob Saunders and his wife Carol attend a group therapy session that serves as the backdrop for the opening scenes of the film. Returning to their Los Angeles home, ... See full summary »
Prospero, a potent magician, lives on a desolate isle with his virginal daughter, Miranda. He's in exile, banished from his duchy by his usurping brother and the King of Naples. Providence ... See full summary »
Exiled Prospero lives on a desolate island with his daughter, Miranda. When Prospero's usurping brother sails by the island, Prospero conjures a storm that wrecks the ship and changes all of their lives.
A sobering mid-life crisis fuels dissatisfaction in Philip Dimitrius, to the extent where the successful architect trades his marriage and career in for a spiritual exile on a remote Greek island where he hopes to conjure meaning into his life - trying the patience of his new girlfriend and angst-ridden teenage daughter. Written by
When a helicopter lands in Manhattan, in the last scene of the film, Philip steps out with a haircut in continuity with the early part of the story, set "18 months ago". Since the time on the island takes place 18 months later, over a 24 hour cycle, his hair should be short and gray when he lands, instead of longer and darker. See more »
I want to touch... I want to kiss... I want to balanga you with my bonny Johnny!
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"Tempest" is a somewhat self-indulgent, uneven, discursive movie. But as Lord Byron, another visitor to Greece, protested to his friend John Murray about his similarly self-indulgent and discursive "Don Juan," "It may be profligate but is it not life, is it not the thing?"
The connections to Shakespeare's "Tempest" may seem, as another commentator here claims, a bit tenuous. But watch the film again after re-reading "The Tempest," and they'll seem far closer. What makes this film flawed is its uneasy mixture of straightforward normal narrative and sudden jarring apparent improvisation, particularly between Cassavetes and Rowland. But to be honest, these scenes are the most remarkable and gripping in the film, if the hardest to watch.
The music of this film, composed by Stomu Yamashta, is also overlooked. Particularly fine is the perfect little piece played to accompany the afternoon siesta, as people, animals, and seemingly the entire island collapse to sleep away the hottest part of the afternoon. It's a sublime moment, and representative of the best aspect of this movie and the one thing that keeps it somewhat unified, the fact that (aside from extensive flashbacks and the very end) it is the story of one day on an island, from awakening to night.
Overall, I'd rather watch this film a hundred times than see some bombastic Hollywood piece of crap once. And in fact, I probably have watched it several dozen times. Most times, I see something I missed before.
(Confession: I'm biased. This was the second movie I took my Greek-American goddess wife to see.)
Trivia notes on this flick:
It was Molly Ringwald's first movie, as well as Sam Robards';
It was actually not filmed on an island, but in Gytheion, the
southern tip of the remote Mani peninsula of the Peloponnesus of Greece;
The (by today's standards) primitive special effects were done by
Bran Ferren, who later became head of Disney Imagineering, and still later was an adviser to the US intelligence community;
Paul Mazursky, the director, chose the title of his recent
autobiography, "Show Me the Magic," from the script of "Tempest."
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