Movie Preview: The Tempest

Director Julie Taymor’s (Across the Universe, Frida) adaptation of the Shakespeare classic The Tempest includes one central deviation from its source material: the central character’s gender has been changed. Prospero is now Prospera, played by the incomparable Helen Mirren. The switch should change a major dynamic in the story–the relationship between Prospero/a and the daughter.

Critics don’t seem to be loving the film thus far, but here’s a nice summation from Entertainment Weekly’s Lisa Schwarzbaum:

Taymor repositions Shakespeare’s mysterious story of magic, revenge, and forgiveness on a strange island by turning the play’s vexed sorcerer, Prospero, into a sorceress, Prospera, played by Helen Mirren with moody feminist authority.

Personally, I enjoy most Shakespeare adaptations–even the bad ones–and am interested in what Taymor has done with this one.

Here’s the film’s trailer:


And an interview with Taymor on The Colbert Report:


The Colbert Report Mon – Thurs 11:30pm / 10:30c
Julie Taymor
www.colbertnation.com
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Quote of the Day: Nina Power

Below is an excerpt from Nina Power’s One Dimensional Woman, in which she raises some interesting points and questions about the so-called Bechdel Test (or Ripley’s Rule, as we generally refer to it).

What does contemporary visual culture say about women? Here a thought experiment comes in handy: The so-called ‘Bechdel Test’, first described in Alison Bechdel’s comic strip Dykes to Watch Out For, consists of the following rules, to be applied to films, but could easily be extended to literature:
  1. Does it have at least two women in it,
  2. Who [at some point] talk to each other,
  3. About something besides a man.

Writer Charles Stross adds that

“if you extend #3 only slightly, to read “About something besides men or marriage or babies, you can strike out about 50% of the small proportion of mass-entertainment movies that do otherwise seem to pass the test.”

Once you know about the test, it’s impossible not to apply it, however casually. Stross is right–huge quantities of cultural output (possibly even more than he suggests) fail. Several questions emerge from the test:

  1. What is so frightening about women talking to each other without the mediation of their supposed interest in men/marriage/babies?

  2. Does cinema/literature have a duty to representation such that it is duty bound to include such scenes, as opposed to pursuing its own set of agendas? Why should literature/cinema be ‘realistic’ when it could be whatever it wants to be?

  3. Does reality itself pass the test? How much of the time? Can we ‘blame’ films/TV for that?

Nina Power is a Senior Lecturer in Philosophy at Roehampton University. She has published widely on topics including Iran, humanism, vintage pornography and Marxism. (taken from the jacket cover of One Dimensional Woman.)

Equality Now: Joss Whedon’s Acceptance Speech

In 2007, the Warner Brothers production president, Jeff Robinov, announced that Warner Brothers would no longer make films with female leads.

A year before that announcement, Joss Whedon, the creator of such women-centric television shows as Buffy the Vampire Slayer, Firefly, and Dollhouse, accepted an award from Equality Now at the event, “On the Road to Equality: Honoring Men on the Front Lines.”

Watch as he answers the question, “Why do you always write such strong women characters?”

Oscar Acceptance Speeches, 1992

Leading up to the 2011 Oscars, we’ll showcase the past twenty years of Oscar Acceptance Speeches by Best Actress winners and Best Supporting Actress winners. (Note: In most cases, you’ll have to click through to YouTube in order to watch the speeches, as embedding has been disabled at the request of copyright owners.)


Best Actress Nominees: 1992

Geena Davis, Thelma & Louise
Laura Dern, Rambling Rose
Jodie Foster, The Silence of the Lambs
Bette Midler, For the Boys
Susan Sarandon, Thelma & Louise

Best Supporting Actress Nominees: 1992

Diane Ladd, Rambling Rose

Juliette Lewis, Cape Fear
Kate Nelligan, The Prince of Tides
Mercedes Ruehl, The Fisher King
Jessica Tandy, Fried Green Tomatoes

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Jodie Foster wins Best Actress for her performance in The Silence of the Lambs.

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Mercedes Ruehl (transcript only) wins Best Supporting Actress for her performance in The Fisher King.
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Click on the following link to see the nominees and winners in the previous year: 1991

Oscar Acceptance Speeches, 1991

Leading up to the 2011 Oscars, we’ll showcase the past twenty years of Oscar Acceptance Speeches by Best Actress winners and Best Supporting Actress winners. (Note: In most cases, you’ll have to click through to YouTube in order to watch the speeches, as embedding has been disabled at the request of copyright owners.)

Best Actress Nominees: 1991

Kathy Bates, Misery
Anjelica Huston, The Grifters
Julia Roberts, Pretty Woman
Meryl Streep, Postcards from the Edge
Joanne Woodward, Mr. and Mrs. Bridge

Best Supporting Actress Nominees: 1991

Annette Bening, The Grifters
Lorraine Bracco, GoodFellas
Whoopi Goldberg, Ghost
Diane Ladd, Wild at Heart
Mary McDonnell, Dances With Wolves

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Kathy Bates wins Best Actress for her performance in Misery.

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Whoopi Goldberg wins Best Supporting Actress for her performance in Ghost.