Rating summary

Movie		2.5
Video		4.5
Audio		5.0
Extras		4.0
Overall		4.0

The Tempest Blu-ray Movie Review

'Lost' dreams up its strangest season yet! I kid, I kid...

Reviewed by Kenneth Brown September 16, 2011

There's a reason audiences are so familiar with William Shakespeare's "Romeo & Juliet," "Julius Caesar," "Hamlet," "A Midsummer Night's Dream" and other mass-appeal plays while "The Tempest" seems ever lost at sea. It has nothing to do with the power of the narrative; Shakespeare weaves a tale of vengeance, love and forgiveness every bit as inexhaustible as his finest plays. It has nothing to do with the charm of the characters; Prospero is as mysterious and dramatic a figure as the Bard himself, wispy elemental Ariel is as enchanting a trickster as Puck, drunkards Stephano and Trinculo are as amusing as the bumbling malcontents who frequent Shakespeare's best comedies, misguided beast of burden Caliban is as tortured and tragic as the Prince of Denmark, and star-crossed lovers Ferdinand and Miranda are as bound to fate as Romeo and Juliet. And it has nothing to do with the structure, tone and tenor of the play; each is set apart from earlier works as Shakespeare strikes a masterful balance between comedy, drama and romance that's as fitting a final solo act as any preeminent playwright could hope for. No, the reason for its relative obscurity is much simpler: "The Tempest" isn't Shakespeare's most accessible play. Far from it. With its context largely forgotten, with its intentions more elusive than most, "The Tempest" rarely makes the rounds in high schools, doesn't have the adaptive allure of the Bard's earlier works, and hasn't garnered much interest from Hollywood. For my part, I approached The Tempest with an intense curiosity, wondering whether writer/director Julie Taymor's adaptation would rise above the storm or sink beneath the waves.

"Gentle breath of yours my sails must fill, or else my project fails, which was to please."

Like Titus before it, Taymor's Tempest is an operatic, garishly beautiful reimagining that, while reasonably faithful to Shakespeare's original language, takes several modest but intriguing departures from the text. The most notable change is to scorned male protagonist Prospero, who's transformed into Prospera and played with thunderous bombast and thoughtful restraint by actress Helen Miren. Thankfully, Taymor's gender-swap isn't a gimmick. It subtly alters the dynamic of the relationships between the sorcerer, or rather sorceress, and many of the other characters, particularly that of Prospera and her daughter, Miranda (Felicity Jones). The story itself, though, is largely intact. After living in relative seclusion for twelve years on a (mostly) deserted island, a powerful sorceress summons a storm and shipwrecks the treacherous opportunists who exiled her so long ago: her brother Antonio (a miscast Chris Cooper) and the king of Naples, Alonso (David Strathairn). But Prospera's enemies aren't the only men to wash up on shore. Among the survivors are Alonso's noble son Ferdinand (Reeve Carney), his brother Sebastian (Alan Cumming), his counselor Gonzalo (Tom Conti), and his butler and jester, Stephano (Alfred Molina) and Trinculo (Russell Brand). To exact her vengeance, Prospera enlists the help of Ariel (Ben Whishaw), an impish spirit bound to her, and Caliban (Djimon Hounsou), a beast she enslaved upon her arrival. But only one creature is loyal and, before long, treachery begins to brew on the island.

If all of that sounds like the makings of a staggering film and an absorbing adaptation, that's because it is. Alas, casting mishaps abound, over-and-under-acting (even by Shakespearean standards) leaves the ensemble's collective performances feeling wildly uneven, and overindulgent flights of murky fancy drag the filmmakers' vision, thrashing and gasping for air, into the depths. The imagery in Taymor's Titus is bold, breathtaking and, at times, bewildering; the imagery in The Tempest is merely breathtaking. Shot on the privately owned Hawaiian island of Lanai, Stuart Dryburgh's stormy cinematography is one of the film's greatest assets, surpassed only by Mirren's commanding performance. But Taymor's attempt to fully realize the fantastical elements of Shakespeare's play (by way of CG and other FX trickery) fails time and time again, and her surreal supernatural imagery and climactic music lack the sound and fury the film needs to resonate. The photography is there, the costumes (by nine-time Academy Award-nominated designer Sandy Powell) are certainly there, Mirren is there, the source material is there... and yet The Tempest never quite strikes a chord. Whishaw scrambles so far over the top of over-the-top that Ariel deflates; Cooper is out of his element (a rare place to find such a fine actor), Cumming is squandered and Strathairn is wasted as Alonso (when Antonio would have been so much more fitting a role); Jones and Carney seem to be under the impression that they're starring in a Pirates of the Caribbean sequel; and, for all the screaming, cavorting and general Looney Tunes foolishness they bring to the screen, Hounsou and Molina aren't funny or engaging at all, and only manage to sully Shakespeare's wit and wiles.

The result is a film that has one foot in gaudy stagecraft and the other in overbearing theatrics. The performers are all categorically talented, but aside from Mirren (and Brand, surprisingly, who was apparently born to play any one of Shakespeare's misfits), the cast doesn't shed any new light on Shakespeare's text, expound upon the characters, or take Taymor's Tempest in any new, exciting directions. Key pieces are in place, sure, but too many are missing, leaving the puzzle woefully incomplete. By the time Prospera passes judgment on all involved, the production simply dissipates, crumbling away like a sand castle in the rain (ironically, an image that appears in the film's opening shot). Again, though, the actors are clearly talented, meaning the blame rests solely with Taymor. Her adaptation is ambitious; so ambitious that she overreaches and overextends. Her ethereal visions are striking; so striking that the film feels as if it's comprised of grandiose but disparate scenes. She has a tight grasp on the original play; so tight that she's unable to make the cuts and changes that might make The Tempest more compelling and cohesive in its much-too-short 110-minute lifespan. It's a classic case of go big or go home, really. But while Taymor goes big, she goes too big, builds her house too high, without a proper foundation to support the lumbering, disjointed monstrosity she erects. All that said, it is Shakespeare and even poorly adapted Shakespeare can be interesting, if only to see how a filmmaker will approach the Bard's sandbox. To her credit, Taymor delivers a film that is wholly hers, and the dreamscape she brings to life is free of studio interference, Hollywood convention and anything resembling the ordinary. And there are scenes that succeed on every level, even when the film flounders. The Tempest is terribly flawed, and yet I don't regret watching it. I only wish it were closer to Taymor's Titus than Spider-Man: Turn Off the Dark.

The Tempest Blu-ray Movie, Video Quality 

Like Stuart Dryburgh's cinematography, Disney's 1080p/AVC-encoded video transfer is breathtaking. The Tempest's palette is as stormy and weather-worn as the island of Lanai, but there's an innate beauty to it, even when colors are overcast and shadows begin waning in the dull grays of a seemingly eclipsed sun. Skintones are perfectly saturated throughout, though, and clarity is exceptional. The film's salty veneer of filmic grain is nice and refined, textures are clean and exceedingly well-resolved, and edge definition is natural and satisfying (even if a bit of ringing flanks the actors when they stand against the sky). Note the fabrics of Sandy Powell's Oscar-nominated costumes, the troubled lines on Mirren's brow, the tiny freckles on Jones' soft face, the cracks and crevices on Caliban's skin, the wild hair of Trinculo's curly mane, and the frayed feathers that frame Ariel's shoulders when the spirit transforms into a harpy. Also take note of the fact that there isn't any distracting artifacting, banding, smearing or noise to be seen. The only complaint I have is that black levels are frequently muted, taking on a barren, volcanic hue rather than the sort of rich, inky shades that might lend the image a bit more depth. That said, it's all true to Dryburgh's photography, so perhaps "complaint" is misleading. All things considered, Disney's presentation is as polished as it is proficient. I can't imagine anyone will be disappointed.

The Tempest Blu-ray Movie, Audio Quality 

But it's Disney's DTS-HD Master Audio 5.1 surround track that dominates the proceedings. The Tempest roars to life with spectacular lossless fury, crashing through every channel and whipping the entire soundfield into a thundering frenzy. LFE output is as powerful as it is arresting, granting tremendous strength to the elements, startling weight to splintering ships and surging waves, and deep, ominous presence to every supernatural event that transpires. Rear speaker activity is just as aggressive, enriching every environment and making the most of every locale, encounter and journey. Listen as Prospera talks with Miranda in the seclusion of their cave; hear the hum of the ocean in the distance as the sorceress summons Ariel; as the creature explodes out of a reflecting pool; as the Earth shakes as Caliban crosses the island; as Elliot Goldenthal's score rises and relents; as Alonso and Antonio make their way through a bustling forest; as Ariel swoops down to confront Prospera's brother and screeches an unholy wail; as the wronged Duchess of Milan recalls her exile on a windy plain. None of it overwhelms, none of it underwhelms. It simply washes over the listener with pitch-perfect ease. Dialogue is warm, clear and intelligible. Dynamics are bold and rewarding. Directionality is precise and convincing. Pans are swift and smooth. Everything is on point, everything fits in its place, and the entire experience is immersive and involving.

The Tempest Blu-ray Movie, Special Features and Extras 

Few Shakespeare adaptations have arrived on Blu-ray with such a rich and revealing supplemental package. The Tempest boasts five hours of special features including two audio commentaries (one with Taymor and one with a pair of Shakespearean scholars), an extensive hour-long production documentary, a candid rehearsal reel and more. None of it is the stuff of flashy BD-Java dreams, but the extras are terrific (and presented in high definition).

• Director's Audio Commentary: Writer/director Julie Taymor takes listeners on an engaging journey through her film, explaining her changes to the text, detailing the methods to her madness, providing an overview of the production, defending her casting and choices, and talking about the challenges of adapting Shakespeare, drawing a two-hour film out of such a complex text, and striking a balance between historical context and modern themes. It's an excellent commentary; one that's more engrossing than the film it accompanies.
• Shakespeare Experts Audio Commentary: Renowned authors and Shakespeare experts Virginia Mason Vaughan (Professor of English at Clark University) and Jonathan Bate (Shakespeare Professor at England's University of Warwick) discuss the play and Taymor's adaptation at length. It's somewhat dry, and more akin to an upper-level literature lecture than a traditional audio commentary, but it's fairly fascinating. Vaughan and Bate go to great lengths to be as thorough as possible, touching on everything from the fabric of Shakespeare's text to the essential elements inherent to Taymor's interpretation, and succeed in delivering a non-stop exploration of both the play and the film. If I have any complaint, it's that the professors are so enamored with the film that they rarely, if ever, criticize Taymor's decisions; I didn't expect them to loathe the film or anything, but it would have been nice to hear a more unbiased analysis of the filmmaker's choices.
• Raising the Tempest (HD, 66 minutes): Any lingering questions will be answered in this all-access behind-the-scenes documentary. Taymor comes off a tad batty, but the various cast and crew interviews, on-location footage, battles with the natural Lanai elements, rehearsal excerpts, visual effects breakdowns and at-times shot-by-shot, scene-by-scene dissections of the play, Taymor's adaptation and the actors' performances. Keep an eye out for Brand's hilarious Shakespearean character bios; an ongoing comedy bit that deserves its own featurette.
• Julie & Cast: Inside the L.A. Rehearsals (HD, 14 minutes): Taymor, Brand, Molina and Hounsou explore the characters of Trinculo, Stephano and Caliban during a stage rehearsal. The only downside? There isn't more rehearsal footage, particularly with other members of the cast.
• Russell Brand Rehearsal Riff (HD, 5 minutes): On the first day of rehearsal, Taymor "interviews" Trinculo to bizarre but funny improvisational ends.
• Music Video (HD, 3 minutes): "Mistress Mine," as performed by Reeve Carney.
• Sneak Peeks (HD, 6 minutes): Trailers for John Carter, Pirates of the Caribbean: On Stranger Tides and African Cats round out the package.

The Tempest Blu-ray Movie, Overall Score and Recommendation 

The Tempest, for all its flash and fury, doesn't resonate; it ebbs like a retreating tide without enriching or exploring Shakespeare's original play in any meaningful way. Thankfully, the same can't be said of Disney's Blu-ray release. With a stunning video transfer, a powerful DTS-HD Master Audio 5.1 surround track and a revealing five-hour supplemental package, the Blu-ray edition of The Tempest leaves its mark, even when Taymor's film fails. If you have any love of Taymor's Tempest, you won't be disappointed in the slightest. If you loathe every minute of her adaptation, you still won't be disappointed in the slightest. Well... at least not with Disney's release.