This is something quite unique. The atmosphere reminds me of a mad, confusing dream. The location adds to the sense of mystery, so does the brilliant use of light and shadows with carefully composed frames. The first impression is strong - the weird mood feels fresh, we get to know the characters and new ones are introduced, but it gradually looses some steam. Still, it's absolutely worth watching as an "experience".
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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
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.
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.
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.
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.
This film can't be called an 'adaptation' really; I've never seen anything miss the point of an original work so completely. 'Inspired by' perhaps, but there's a pseudo-artistic sincerity which, unless <i>I'm</i> completely missing something, makes its pretty unbearable to watch, let alone enjoy.