Shot on location at the ancient and ghostly Stoneleigh Abbey, The Tempest tells the story of Prospero the magician, who lives with his nubile daughter on an enchanted island and punishes his enemies when they are shipwrecked there.
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Mubi gives me enough characters to leave, as review, 140 heart emoticons. I seriously considered it... Playful, punk, iconoclastic adaptation, full of fanciful extravagance and Jarman's trademark exquisite lighting, colour, composition. Whatever it might lack in profundity it makes up for in charm and delight. (And, honestly, could Karl Johnson be any sexier?) OK, here goes: <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3
Magic in cinema could be explained by this film. Scenes that come out from a Caravaggio canvas, light used in the best way. No wonder the director is a painter and works like one in filmmaking. The ending is the right crown to all which was build before and it always brings tears to my eyes, no matter how many times I watch it.
Jarman's take on Shakespeare's 'The Tempest' is a mixed bag to say the least. In the early sections it seems earnest but dull but eventually winds up in high camp with dancing sailors and the singing of 'Stormy Weather'. Perhaps risqué or even dangerous in '79 but in today's context one can see tougher adaptations at 'Shakespeare in the Park'. Performances are all over the place though Toyah Wilcox is quite good.
Derek Jarman's avant-garde, colorful, and campy take on William Shakespeare's final play is not the best representation of the Bard's story, as it tends to get lost down its own rabbit hole of bizarre distractions (and focus on Caliban over Prospero). But there are some choice moments here, including the climactic tempest represented by a cabaret performance of "Stormy Weather" by Elisabeth Welch.
Non-subtitled version. For experimental theater lovers in general and Sheakespeare in the text in particular. Version non-sous-titrée. Pour amateurs de théatre expérimental en général et de Sheakespeare dans le texte en particulier.
his most underrated work. the adaptation is pure jarman - queerly atmospheric, sublimely frivolous, and (generally) irreverent to its source material. the wedding sequence towards the end is magic(k)al.
An eclectic magpie’s nest of a film: spry and light of foot, capturing a sense of lyrical magic with surprising ease.
I disagree with the synopsis above about being a homosexual metaphor as this is one of the few films where Jarman doesn’t beat that drum so loudly. It’s more a humanist reading.
One of the finer Shakespeare adaptations.