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The Tempest (I) (2010)

5.4
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Ratings: 5.4/10 from 5,282 users   Metascore: 43/100
Reviews: 32 user | 83 critic | 28 from Metacritic.com

Shakespeare's epic play is translated from page to screen, with the gender of the main character, Prospero, changed from male to female.

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Title: The Tempest (2010)

The Tempest (2010) on IMDb 5.4/10

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Nominated for 1 Oscar. Another 1 win & 3 nominations. See more awards »

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Cast

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Prince Ferdinand
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Storyline

In Julie Taymor's version of 'The Tempest,' the main character is now a woman named Prospera. Going back to the 16th or 17th century, women practicing the magical arts of alchemy were often convicted of witchcraft. In Taymor's version, Prospera is usurped by her brother and sent off with her four-year daughter on a ship. She ends up on an island; it's a tabula rasa: no society, so the mother figure becomes a father figure to Miranda. This leads to the power struggle and balance between Caliban and Prospera; a struggle not about brawn, but about intellect. Written by Anonymous

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Motion Picture Rating (MPAA)

Rated PG-13 for some nudity, suggestive content and scary images | See all certifications »

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Details

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Release Date:

11 February 2011 (Taiwan)  »

Also Known As:

A Tempestade  »

Box Office

Budget:

$20,000,000 (estimated)

Opening Weekend:

$42,436 (USA) (10 December 2010)

Gross:

$263,365 (USA) (18 February 2011)
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Company Credits

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Technical Specs

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2.35 : 1
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Did You Know?

Trivia

Alfred Molina's second work in a Shakespearean film since As You Like It (2006). See more »

Quotes

Prospera: Be cheerful sir, our revels now are ended.
See more »

Connections

Version of The Tempest (1998) See more »

Soundtracks

Darkened Sands
Performed by Ben Whishaw
Music by Elliot Goldenthal
Lyrics by William Shakespeare
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User Reviews

 
Zapped magic
10 December 2013 | by (Greece) – See all my reviews

The Tempest is not the most riveting drama, the larger realization is after all a certain weariness with it. This is given to us as a magician who halfway through the story abandons his powers of illusion, who after conjuring to him the characters and plotting the story of revenge pauses to reflect on the emptiness of the endeavor. It's still powerful then, because we are all Prosperos alone in our island with the thoughts we conjure up to inhabit.

In Shakespeare's time, the inspiration for Prospero must have likely come from the scandalous topic of John Dee, the communion with spirits and visions through crystals certainly point at that as well as more broadly the notion of a benign magic. Magic since well before Dee and up to Crowley has tried its best to mask in so much hoopla what other spiritual traditions make clear from the start: that man is an embodied consciousness with the ability to direct that consciousness to vision. Shakespeare no doubt understood this was exactly his own art, a rich and complicated magic of conjured vision in peoples' minds.

So if this is to be powerful, you have to adopt a very intricate stance. Show both the power of illusion as vision and, contradictory, the emptiness of it, the fact it is underpinned by an illusory nature of reality. Greenaway masterfully did this in his Prospero film by having Prospero's creation of the play as vision, the vision lush and wonderful, and yet at every turn shown to exist on a stage.

Taymor is too earnest to strike this stance, in fact judging by the cinematic fabrics here she seems unsure of what direction to follow. She is an earthy woman so intuitively builds on landscape, volcanic rock under our feet. Pasolini could soar in this approach judging from his mythic films, her approach is too usual and without awe. The magic is also too ordinary. A few movie effects cobbled together in earnest as something to woo simple souls like Trinculo. Compared to the novel richness of Greenaway this feels like discarded Harry Potter work. And the cinematic navigation is without any adventure, as if Taymor didn't believe there was anything for her to discover outside the play, to conjure up in the landscape itself by wandering to it, so she never strays in visual reflection.

Mirren conveys the reflection as best she can, but that is all here, too little.


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