A sobering mid-life crisis fuels dissatisfaction in Philip Dimitrius, to the extent where the successful architect trades his marriage and career in for a spiritual exile on a remote Greek ...
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A sobering mid-life crisis fuels dissatisfaction in Philip Dimitrius, to the extent where the successful architect trades his marriage and career in for a spiritual exile on a remote Greek island where he hopes to conjure meaning into his life - trying the patience of his new girlfriend and angst-ridden teenage daughter.Written by
The film was made and released about 371 years after its similarly titled source play "The Tempest" by William Shakespeare had been first performed in 1611. See more »
When a helicopter lands in Manhattan, in the last scene of the film, Philip steps out with a haircut in continuity with the early part of the story, set "18 months ago". Since the time on the island takes place 18 months later, over a 24 hour cycle, his hair should be short and gray when he lands, instead of longer and darker. See more »
Shakespeare's "The Tempest" turned into a middle-age-crazy opus
Paul Mazursky gathered an impressive acting ensemble for this modern reworking of Shakespeare's "The Tempest", with John Cassavetes feeling trapped by his career and his marriage and taking off for Greece, but direct inspiration from the Bard seems to have run dry early on, and the second-half of the picture is awfully dreary. Cassavetes is a questionable actor to put center-stage in a movie like this, one which depends on a light, fanciful touch if it's to work at all; dogged by a perpetual black cloud, Cassavetes doesn't sink into this character, and his furrowed brow and uncertain grimaces aren't interesting or attractive. As his mistress, short-haired Susan Sarandon is like a dangerous pixie, and Molly Ringwald gives the movie some joy as Cassavetes' daughter; Raul Julia has fun as a horny sheepherder, but Gena Rowlands has little to work with (the wife's arrival in the latter stages of the plot signals nothing but gloom up ahead). Although Mazursky initially seems in frisky spirits, he lets the contemplative nature of the material drag him into pretentious waters, and "Tempest" fades so fast it nearly evaporates off the screen. ** from ****
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