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 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 »
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Elizabeth Lee Miller,
Germany in the early 1930s. Against the backdrop of the Nazis' rise, Hermann Hermann, a Russian émigré and chocolate magnate, goes slowly mad. It begins with his seating himself in a chair ... See full summary »
Rainer Werner Fassbinder
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 <email@example.com>
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 »
Peter Greenaway is one of the great filmmakers, with an original and personal vision. This movie is a marvelous mixture of Shakespeare, visual poetry, music, art ... a feast for the imagination.
Having said that, I must add that I watched it with my wife whose succinct comment was "pretentious". Well, yes, it is a little pretentious, and there are spots that move along too slowly, so you can't just "let it happen" as you do with most movies. This one requires you to pay attention.
It includes what must be the longest single pan to the side ever filmed. I'm not sure how long it was, but it went on forever. I guess it must have gone more than 360 degrees, circled back to the original spot, where new sets had replaced the old. I'm not sure. But it is dazzling. Actually, you can take virtually any frame from this movie and make it into a poster.
Films have been around for about a century, and there isn't much around that doesn't recycle old material. Peter Greenaway is an exception. Like him or not, he's a dyed-in-the-wool original.
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