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. –IMDb
Julie Taymor (born December 15, 1952) is an American director of theater, opera and film. Taymor’s work has received many accolades from critics, and she has earned two Tony Awards out of four nominations, the Drama Desk Award for Outstanding Costume Design, an Emmy Award, and an Academy Award nomination for Original Song. She is widely known for directing the stage musical, The Lion King, for which she became the first woman to win the Tony Award for directing a musical, in addition to a Tony Award for Original Costume Design. She had been the director of the Broadway musical Spider-Man: Turn Off the Dark before leaving in March 2011, after four months of previews (the longest preview period for any show in Broadway history), following artistic differences with the producers.
Taymor has also worked in film in recent years, directing Titus (1999) and Frida (2002). Both movies received positive reviews for their stylish filming; but Frida… read more
An odd mix of parts that are incredibly watchable, and flourishes that fall flat---Helen Mirren does a great job, and her performance really makes the film, but some of the other actors feel like they're drowning in the cinematography, and the score (what's with those guitars?) is as erratic as the acting.
Taymor gives Prospero a sex change as she tackles Shakespeare’s classic scenario of mythical chaos and vengeance. It seems a fitting combination, given her successful work on Titus a decade earlier; and, despite one or two sequences perhaps being a tad overdone, she does indeed bring this glorious play to life. Housing some of the Bard’s finest passages and with Mirren holding her own outstandingly - the other players having plenty of charisma also - the film’s clarity as well as its aesthetic beauty overshadow any blemishes it might still possess elsewhere.
The index will take you to roundups for nearly every film in this year's New York Film Festival main slate as well as to those for a handful
It's been a week and a half since the night of those controversial awards. Time to wrap Venice 2010 with one final roundup. The festival