An exiled magician finds an opportunity for revenge against his enemies muted when his daughter and the son of his chief enemy fall in love in this uniquely structured retelling of the 'The... See full summary »
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In first century Rome, two student friends, Encolpio and Ascilto, argue about ownership of the boy Gitone, divide their belongings and split up. The boy, allowed to choose who he goes with,... See full summary »
In this adaptation of the Thomas Mann novel, avant-garde composer Gustave Aschenbach (loosely based on Gustav Mahler) travels to a Venetian seaside resort in search of repose after a period... See full summary »
In the Napoleonic wars, an officer finds an old book that relates his grandfather's story, Alfons van Worden, captain in the Walloon guard. A man of honor and courage, he seeks the shortest... See full summary »
Director:
Wojciech Has
Stars:
Zbigniew Cybulski,
Iga Cembrzynska,
Elzbieta Czyzewska
A young artist draws a face at a canvas on his easel. Suddenly the mouth on the drawing comes into life and starts talking. The artist tries to wipe it away with his hand, but when he looks... See full summary »
Director:
Jean Cocteau
Stars:
Enrique Rivero,
Elizabeth Lee Miller,
Pauline Carton
Set in pre- World War II era. A young man is on a strange train to see his dying father in a sanatorium. But the place is going to ruin and recalls a lot of memories from the past. He is ... See full summary »
An exiled magician finds an opportunity for revenge against his enemies muted when his daughter and the son of his chief enemy fall in love in this uniquely structured retelling of the 'The Tempest'. Written by
Keith Loh <loh@sfu.ca>
Prospero was John Gielgud's favorite stage role and he had attempted to mount a film of Shakespeare's "The Tempest" for decades, contacting Orson Welles, Akira Kurosawa and Ingmar Bergman about directing and Welles and Albert Finney about playing Caliban. The version with Welles directing and playing Caliban was in preparation until the financial failure of Welles' and Gielgud's film of 'Falstaff (1966)' forced the project to fall through, where it laid dormant until Gielgud finally convinced Peter Greenaway to make this version. See more »
I found Prospero's Books fascinating, on many levels, but it wasn't until my second or third time watching it that I realized the "key" to unlocking this film: It's a ballet.
This film is essentially images and motion choreographed to music (this realization struck me during the opening credit sequence in one viewing). Now, it's an unusual ballet: The "music" includes the mellifluous recitation of "The Tempest" by Gielgud, and the choreography includes things like digital manipulation of images, and the images are heavily influenced by renaissance paintings, but I maintain that the film is, fundamentally, a ballet.
That means that you shouldn't really expect a clear expression of the story, any more than you would from any other ballet. What you should expect is a series of interesting images choreographed to music inspired by "The Tempest". As with any ballet, you can follow it if you're already familiar with the story, but otherwise, you should read the play in advance.
And, just a couple of things about some of the most common criticisms: The naked people? Think of them as invisible - they are visual symbolic representations of the "airy spirits" Prospero commands, his magic. The infamous pissing? Ariel p***ing on a model ship is just an obvious visual metaphor for Ariel creating a storm over the real ship.
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I found Prospero's Books fascinating, on many levels, but it wasn't until my second or third time watching it that I realized the "key" to unlocking this film: It's a ballet.
This film is essentially images and motion choreographed to music (this realization struck me during the opening credit sequence in one viewing). Now, it's an unusual ballet: The "music" includes the mellifluous recitation of "The Tempest" by Gielgud, and the choreography includes things like digital manipulation of images, and the images are heavily influenced by renaissance paintings, but I maintain that the film is, fundamentally, a ballet.
That means that you shouldn't really expect a clear expression of the story, any more than you would from any other ballet. What you should expect is a series of interesting images choreographed to music inspired by "The Tempest". As with any ballet, you can follow it if you're already familiar with the story, but otherwise, you should read the play in advance.
And, just a couple of things about some of the most common criticisms: The naked people? Think of them as invisible - they are visual symbolic representations of the "airy spirits" Prospero commands, his magic. The infamous pissing? Ariel p***ing on a model ship is just an obvious visual metaphor for Ariel creating a storm over the real ship.