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...
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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 <firstname.lastname@example.org>
I love Shakespeare, to read and to see it performed. I also loved Prospero's Books. Granted, I've only watched it twice as yet, and will undoubtedly indulge in a course of dyed-in-the-wool over-intellectualization and cerebral gymnastics during some future viewing, but these first two viewings (with a lovely bottle of Beringer Brothers White Zinfandel) were utterly given over to happily losing all perspective and immersing myself into the fantastical visual orgy spread before me. But then, I also like Heironymus Bosch and Salvador Dali.
Films are to entertain. Film makers cannot be required to entertain each and every member of the viewing public with each film. That said, there is no rule specifying just how a film must entertain us, nor is there a rule limiting any of us to being entertained in a specific form. We can be entertained by purest brain candy, the most convoluted mystery, brilliant wit, even by being frightened witless or moved to tears. In this case, I took my entertainment from the unadulterated, hedonistic beauty - both of sight and sound - offered up in a blaze of brave disregard for bourgeois ideals, and I'm not the least apologetic.
Yes, it did enrich my life, just by the sheer beauty and excess of it.
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