The daughter of Prospero, an exiled magician, falls in love with the son of his enemy, while the sorcerer’s sprite, Ariel, convinces him to abandon revenge against the traitors from his earlier life. In the film, Prospero stands in for Shakespeare, and is seen writing and speaking the story’s action as it unfolds. Prospero’s Books is a complex tale based upon William Shakespeare’s The Tempest. –Wikipedia
An avant-gardist who earned surprising access to the mainstream, Peter Greenaway is among the most ambitious and controversial filmmakers of his era. Trained as a painter and heavily influenced by theories of structural linguistics, ethnography, and philosophy, Greenaway’s films traversed often unprecedented ground, consistently exploring the boundaries of the medium by rejecting formal narrative structures in favor of awe-striking imagery, shifting meanings, and mercurial emotional tension; fascinated by formal symmetries and parallels, his material displayed an almost obsessive interest in list-making and cataloguing, earning equal notoriety for its provocative eroticism as well as its almost self-conscious pretentiousness. Born April 5, 1942, in Newport, Wales, Greenaway was raised primarily in nearby Chingford. After deciding at the age of 12 to become a painter, he entered the Walthamstow College of Art. By 1965, Greenaway had begun working as a film editor for the Central Office… read more
Wildly experimental, creative take on The Tempest; inevitably opaque at times (working on a similarly maddening meta-narrative and surrealistic milieu as Resnais’ Providence, which starred Sir John in an analogous turn) but just so incredibly decadent and lavish, putting the profligacy of Derek Jarman’s own adaptation a decade earlier to shame. Even ignoring the Shakespearean components, the confluence of techniques and textures form a compelling and satisfying work on that level alone. Almost needs to be seen to be believed.