Prospero's Books (1991)

User Rating:

6.6/10   

Director:

Peter Greenaway

Writers:

William Shakespeare (play)
Peter Greenaway (writer)

Release Date:

30 August 1991 (UK)

Genre:

Fantasy | Drama

Tagline:

A magician's spell, the innocence of young love and a dream of revenge unite to create a tempest.

Plot:

An exiled magician finds an opportunity for revenge against his enemies muted when his daughter and...

Plot Keywords:

Urination | Male Frontal Nudity | Child Nudity | Male Nudity | Dream Like

Awards:

Nominated for BAFTA Film Award. Another 3 wins & 2 nominations

Cast

John Gielgud	...	Prospero
Michael Clark	...	Caliban
Michel Blanc	...	Alonso
Erland Josephson	...	Gonzalo
Isabelle Pasco	...	Miranda
Tom Bell	...	Antonio
Kenneth Cranham	...	Sebastian
Mark Rylance	...	Ferdinand
Gerard Thoolen	...	Adrian
Pierre Bokma	...	Francisco
Jim van der Woude	...	Trinculo
Michiel Romeyn	...	Stephano
Orpheo	...	Ariel
Paul Russell	...	Ariel
James Thiérrée	...	Ariel

Also Known As:

L'ultima tempesta (Italy)

MPAA:

Rated R for pervasive nudity.

Runtime:

124 min | 129 min

Country:

Netherlands | France | UK | Italy | Japan

Language:

English

Color:

Color

Aspect Ratio:

1.78 : 1

Sound Mix:

Dolby

Certification:

Australia:M | Portugal:M/12 | Argentina:16 | Finland:K-12 | Germany:12 (bw) | Spain:13 | Sweden:15 | UK:15 | USA:R

Filming Locations:

Amsterdam, Noord-Holland, Netherlands

Company:

Allarts

Trivia:

One of the first films to use HDTV technology; 'Prospero's Books' specifically utilized an early analogue high-definition process called 'Hi-Vision' developed by the Japanese group NHK.

Movie Connections:

Featured in "Zomergasten: (#11.2)" (1998)

A visually astonishing celebration of Shakespeare

This is Peter Greenaway's most humane and enthralling feature, a visual tour-de-force which re-interprets Shakespeare's 'The Tempest' through the books of magic with which Prospero creates his realm. Sir John Gielgud gives a moving, heartfelt farewell performance in the title role, Michael Clarke is a sinuous, demonic Caliban, and Michael Nyman's score is fittingly triumphant. One sequence - the Masque - even turns the film into an opera.

Although the visuals are overloaded to a level of decadence rarely seen on film, it is always with a purpose. One quibble; Prospero's overlaying of his own voice on the characters makes some of the dialogue difficult to follow, especially if you are unfamiliar with the source material. The film demands to be seen on a wide screen.