Miranda Rights
[The Tempest ] Directed by Julie Taymor
Runtime: 110 min.
Theater whiz Julie Taymor cast Helen Mirren in her film version of Shakespeares The Tempest to play Taymorunder the name Prospera, feminizing Shakespeares original patriarch figure. This drastic errora genuine act of hubrisraises doubt about Taymors usually thoughtful, creative interpretations of theater. Everything that makes Shakespeares final play a great expression of the dangers and risks of ambition in Western civilization is lost in this sex change.
The play doesnt really accommodate the different affinity that exists between a mother and daughter (Miranda, played by Felicity Jones). And leathery sexpot MirrenTaymors vision of herselfspeaks the Kings English, yet she doesnt enliven the text. Mirren lacks the stature to force a genuine re-examination of the play, as would Vanessa Redgrave, a commanding actress and theater legend. This makes Taymors The Tempest seem gimmicky. Her transition from the stage to the screen overuses CGIa literal-minded attempt at what Shakespeare terms rough magic. Its visually busy, yet weaknot a genuine cinematic creation as was Zack Snyders Legend of the Guardians: The Owls of GaHoole. Like Peter Greenaway foundering with Prosperos Books, its time Taymor give up her viewfinder.
She gets her CGI moneys worth: Some striking phantasms and apparitions do occura hermaphroditic Ariel who changes from wind to water, hellhounds with glowing teeth and eyesbut Taymor also weighs down the film in extravagant real-life landscapes. (Comic support from Alfred Molina and Russell Brand is also deadweight.) She forgot what Ingmar Bergman proved when translating theaterto-film in The Magic Flute: That The Tempest doesnt need reality, it needs theatrical illusion, stylizationnot F/X.
Taymors best effect was casting Djimon Hounsou as Prosperas mutant minion Caliban, evoking Western Civs history of African enslavement and oppressed-person anxiety. Hounsou isnt merely aggrieved; he physicalizes an anguished spirit, conscious and fighting against the Wests original sin. This is, fittingly, his greatest role since portraying Cinque in Spielbergs Amistad. Costumed so that his skin is part earth, Hounsou turns a usually unplayable part into an original creation. Its the only time Taymors modern re-thinking of Shakespeare challenges political correctness and really works.