Shakespeare the Illusionist. Neil Forsyth

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СКАЧАТЬ enjoy the sequence. Ben Whishaw makes a suitably ethereal and gender-free Ariel who bursts upward as in a fountain into Prospera’s cavern and our delighted presence. His/her shape-changing is cleverly mirrored in watery images that rise up to ride Ariel’s native element, the air, and s/he also bounds magically over the earth. Whereas Shakespeare’s Ariel is under the power of the magician until Prospero chooses to release him, in Taymor’s film s/he is more of a junior companion to Prospera, or at least not exactly a slave. S/He flies and swoops around the Hawaiian island, Lana‘i, carrying out Prospera’s bidding and performing amazing tricks. Perhaps the most spectacular is when s/he becomes a giant black-winged “minister of Fate” to inform the villains of their punishment. By contrast, Caliban—earth to Ariel’s fire in the play—is here simply a rebellious African in Prospera’s service, using his acting skills (Djimon Hounsou) but no magic. The scenes between Ariel and Prospera lead toward an understanding of what human forgiveness requires. Ariel tells Prospera how Alonso and Gonzalo are suffering and suggests that if she could see them, she would become tender toward them. “Dost think so, spirit?” asks Helen Mirren with shocked surprise. “Mine would, master, were I human,” says Whishaw; she replies, “And mine shall.” The faces and voices carry the message delivered near the end: “The rarer action is / In virtue than in vengeance” (5.1.18–23).

      OTHER TEMPESTS

      The “sounds and sweet airs” of Prospero’s island are transformed in Forbidden Planet (1956)—the most expensive sci-fi movie made up to that point—into the haunting beeps, whirs, and occasional screeches of the electronic tonalities of Louis and Bebe Barron. The enormous space constructed to represent the two-hundred-centuries-old Krell laboratories are still impressive, as we look down on tiny people moving along immense concrete walkways. The special effects indeed were nominated for an Oscar, but the blaster guns and the way they zap against electronic screens now merely look primitive. Far from expanding the possibilities for Shakespearean magic, the technology replaces it. The captive spirit Ariel becomes the remarkable robot called Robbie, an electronic Jeeves who can replicate the cook’s bourbon once he has poured a good swig through the little door into his innards, who informs the visiting spaceship crew that if they do not understand English he can offer 187 alternative languages, and who does all the cooking (“a housewife’s dream”). He conforms exactly to the robot stereotype—indeed, he probably had a lot to do with starting it off, in that he twice goes into electrically overcharged fizzing and flashing when he is given a command that contradicts his programming not to harm humans.

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