Plantiana Yawn. Poorly Filmed Snooze Fest.

Contentar Best movie of this year hands down!

Livestonth I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

Allison Davies The film never slows down or bores, plunging from one harrowing sequence to the next.

Joseph_Gillis Second in my viewing of BBC Shakespeare adaptations: as with the previous 'Measure for Measure', I'd not previously seen any version of the play, and was only vaguely acquainted with the plot.Although the vengeful wizard, Prospero and to a lesser extent his sprite aide/conscience, Ariel, are the key characters, the title is an apt one in that it is the eponymous tempest, or storm - brought about by Prospero - which drives so much of the plot in that it causes to bring to Prospero's island those who had most wronged him. Not surprisingly, given that it is one of Shakespeare's later plays, I found it to be one of his most satisfying and intricately plotted, and although officially classed as a comedy, I'd probably also consider it a moral tale, in the choices and decisions it ultimately has Prospero make when he finally has his hated opponents at his mercy. Although I haven't done any further research or re-reading since my only viewing of this production, I was also interested with one of Prospero's speeches where he seemed to be suggesting that much of his situation might be entirely a dream, which would make the plot richer still (And, incidentally, the actual quote "We are such stuff As dreams are made on" was the source for Bogey's similarly memorable "that's the stuff that dreams are made of", from and about 'The Maltese Falcon')As regards the production itself, I'd absolutely no problem with any of the sets, which more than fulfilled their functions, and allowed for the intelligence of the viewers to flesh them out; the scene where Nigel Hawthorne and Andrew Sach's character first appeared reminded me of various sets for Beckett's 'Happy Days', which is no bad thing. Acting- wise, Hordern was supreme, and well-nigh faultless; I don't understand some reviewers problem with David Dixon's Ariel, as he seemed to me to fit all the requirements of the role. Similarly, Hawthorne and Andrew Sach's characters' interaction with Warren Clarke's hirsute and mildly scary Caliban provided the necessary comic relief, ably, as they did their roles. The remaining performances and characters I'd largely consider functional.Now I can't wait to compare and contrast with Julie Taymor's much- maligned adaptation; on the evidence of her enthralling and visually arresting adaptation of 'Titus Andronicus', I've no doubt that it will make for a worthwhile watch. On a side note, watching Andrew Sachs in this version, I was reminded of his recent very public 'spat' with Russell Brand and, given that they both played Trinculo, it should be interesting to see whose characterisation is the better one.

Dr Jacques COULARDEAU One of the most mysterious plays by Shakespeare that will remind you of other plays they may be remakes of, like "Twelfth Night" and a shipwreck there too. The usurper is also common in "As You Like it" for example, or "Hamlet" in a tragic mode. The use of fairies, spirits and even monsters are not uncommon in his plays like "A Midsummer Night's Dream", or "The Merry Wives of Windsor", or "Macbeth" of course in a tragic mode.But this play is special because it actually starts the action on the ship when it is being shipwrecked by a storm. The situation on the absolutely isolated island is difficult for the "survivors" because it is in the hands of a "sorcerer" who has enslaved some monster, Caliban, and has put to his service Ariel and his band of spirits. That gives the island a magic look and sound that is charming and disquieting, and the master, Prospero, can control the tempest, the shipwreck and the survival of the victims.In fact he knows who is on the ship and he manipulates the elements to both get a husband to his daughter, get reinstated in his position of Duke of Milan by forgiving the people who ousted him, get his real vengeance from the manipulators and plotters, and go back home after liberating Caliban and freeing Ariel of his dependence.All together it is a simple play, a comedy of sorts and hence there would be little to say about it. And yet it is somewhere more complex than that. What makes it different, deeper? It is the belief that if you have the proper knowledge, the necessary books, the patience and the peace of mind necessary you can control the world both in its physical essence and in its supernatural dimension. And that is not only a simple trick used on the stage. The whole plot, the whole play cannot work if those spirits do not exist. Somewhere there is a real belief you can move tempests and mountains with proper spiritual faith.There is also the exploitation of the local and slightly underdeveloped native enslaved to do all the hard work and difficult tasks. Colonialism is all contained in that attitude that considers that local native as not being in anyway able to get to the civilized level that might provide him with a soul. And he insists on the vicious nature of this native who can get drunk easily and then become murderous, and who can only dream of killing his master out of some vengeance.Then the rest is more common with the social vignettes on the political plotters, and on the servants that only dream of getting drunk on their master's wine and of stealing all they can from their masters or anyone else. There is a deep social pessimism in this play: the social servants are unredeemable and are unredeemed even if they are redressed.Finally this play does not work at all like many others. It could have been a tragedy but it was made into a comedy and there are no tricks like four weddings or whatever. Just one plain and simple wedding. There is no vengeance really since it all ends up in forgiveness and some verbal repentance. And the tempest that comes out of the mind of one man is there to bring that fake justice. It repairs nothing and it does not re-establish the balance of before. It is very fine and dandy to go back to Milan but you have lost so many years being no one in an island lost in the middle of some ferocious ocean. It is not even a comedy because the end is just a dull rebalancing act that brings no fun and no justice, and there is no justice if there is no punishment and reparation, and no fun if there is no justice.I like the play because of its mysterious and magical atmosphere and because of the pure and virginal love affair it contains, but it is like some after thought or testament, a regret before going for good, or whatever you may think, but after such a play that ends in such a flat leveling there is nothing to add or say and you could add long dancing interludes or singing intermezzos that would not add one iota of depth to this play.I have seen that play so often and in so many countries and places that I start knowing it by heart, and yet I do not discover anything new in it any more, as I do with practically all other plays by Shakespeare. It is a case where I would easily accept that this play was written in the circle in which Shakespeare was shining, but maybe not by the master himself.Dr Jacques COULARDEAU

Dan1863Sickles Shakespeare's TEMPEST is magical, romantic, and full of delight. But the center of the play is the dynamic between Prospero, the wise old wizard, and his innocent but adventurous daughter Miranda.Pippa Guard is PERFECT as Miranda. She captures all of Miranda's sweetness and gentleness while adding courage and spirit and passion and even daring to the surface obedience she always displays. Watch the famous scene where Prospero talks on and on about his past and his great gifts and his magical plans to bring them home. At the end of his long-winded speech, he prevents Miranda from asking any further questions by waving his magic wand and sending her to sleep! It's a scene that often makes modern audiences groan aloud. But Pippa Guard has the most extraordinary gift for putting a world of passion and deep feeling into her face as she opens her mouth to protest. Her magnificent spirit is fully displayed, even though she has no verbal comeback to Prospero's manipulative magic. Even the surprised, confused, and then suddenly very sleepy look on her face cannot conceal her growing strength and her rebellious desire to know more.Pippa Guard is the model Shakespearean actress -- rendering the language beautifully and adding a world of meaning with just a single look or a glance.Pippa Guard Rocks!

gross-6 The production values are weak, the handling of the spirits is laughable, the wedding masque is tedious, and Ferdinand's hairstyle seems, to our current sense of fashion, ludicrous. BUT this television of Shakespeare's play is to be prized for some excellent performances, most notably Michael Hordern's restrained, intelligent, compassionate and emotionally profound performance as Prospero. Listen to him handle the difficult exposition in Act I, watch how he gives his approval to his daughter's marriage, how he releases Ariel, and the wonderful transition he makes into the final epilogue. There are some fine performances here--you just have to look past some unfortunate design and directorial choices.