Paul Mazursky’s 1982 film adaptation of William Shakespeare’s play The Tempest has a slow start; be patient, nestle in your seat, and view the film with a comparison of the two genres in mind. I must point out that an understanding, perhaps even a love, of Shakespeare’s play is necessary to follow Mazursky’s film. In the play, Prospero, exiled from his home, perfects his magic to take revenge on his enemies and re-claim his dukedom. 12 years after being exiled, conjures a tempest, shipwrecks his enemies, and his brother Antonio convinces the others to help in his plan to kill Alonso, King of Naples. The murder plots turn into a rollercoaster ride of who is after whom. In the end, Prospero forgives his enemies and they are reconciled.
The play explores the dynamics of master-servant relationships in turmoil that create an interruption of harmony between the characters. At the play’s beginning, Boatswain displays anger towards the noblemen, and creates the possibility of a shipwreck. From here, the master-servant relationship dominates the play. One relationship is Prospero and Caliban. Even though Prospero is furious with his brothers for subjugating him, he willfully does the same to Caliban. He enslaves Caliban, takes his place as ruler of the island and demands loyalty. Prospero controls Ariel after releasing him from Sycorax’s prison in a tree. Arile must now do Prospero’s bidding until Prospero no longer needs him. Prospero has a master-servant (father/daughter) relationship with Miranda that is complicated with her natural romantic desire, lack of human contact, and Prospero’s unwillingness to accept her as a young woman. Other master/servant relationships between the characters are Alonso and his court (Sebastian, Antonio, Gonzalo, Stephano, Trinculo).
Mazursky is successful using concepts of contracts and control in the film to express his interpretation of the master-servant relationship. Phillip, an overachieving middle-aged man, is contracted under his employer and chained to a weak marriage contract, is questioning his life. Phillip sees Alonzo (his employer) and Antonia (his wife) as the two main causes of his dis-satisfaction. Alonzo represents everything that has become an undesirable part of Phillip’s ambitious career. Already questioning his desires in life, his discontent escalates into his marriage. Phillip tells his father there is not another woman and, “the money and power don’t mean anything.” His father tells him to accept things as they are. Phillip makes a complete break; he leaves civilization and retreats to the Greek Isles with his daughter Miranda. However, he cannot escape the social contracts in civilized cultures. Kalibanos’s sexual advances towards pubescent Miranda create a tension between nature and civilization—one the very thing Phillip is escaping from (but can’t), the other the very thing he believes he can gain control over (but can’t). This sub-plot of control shows how human kind tries to bend nature to its desires. True to the play, Phillip conjures a tempest and that traumatic event leads to the family forgiving one another. They return to their former lives enriched from the experience.
In this critic’s view, see a local theater production of William Shakespeare’s The Tempest and spend a rainy afternoon enjoying Paul Mazursky’s 1982 film. The two genres tie together nicely.
Wednesday, August 18, 2010
Forgiveness and Reconciliation by Sidney Walker
The Tempest is the first of William Shakespeare’s writings that I have read. What am I to make of The Tempest? Is it a story of “Exploration?” Of “Forgiveness and Reconciliation?” “Magic and the Supernatural?” Or of “a Marriage?” I don’t know; but it seems to me I can arrive at almost any interpretation that I want. In his last play, the mature playwright was very successful in illustrating one of life’s most important and difficult lessons: forgiveness and reconciliation are vital to the human quest for happiness. Prospero, the protagonist and main character, who had been severely wronged by his brother and friends, overcomes his anger and resentment and is genuinely able to forgive them while teaching them that greed and treachery come to no good end and result in a life of misery and regret.
Prospero forgives:
You, brother mine …
Would here have killed your king; I do forgive thee,
Unnatural though thou art. (V. i. 82-86)
… I do forgive
Thy rankest fault, all of them … (V. i. 147-148)
At times, Mazursky’s film (Tempest 1982) seems a parody of Shakespeare’s play (The Tempest 1611). The scenes on board Alonzo’s yacht seem a little too comical and ridiculous. However, Phillip’s mid-life crisis, the catalyst of the film, seems especially real and poignant. Phillip’s discovery of a white chest hair causes him to face the reality of growing older, forcing him to examine his life. He feels threatened by his now recognized sense of eventual mortality, illustrated by the foreboding shipwreck dream. This causes him to seek a new exciting adventure, which he found in the person of Aretha, a young nymph-like free spirit who is in direct contrast to his familiar, aging wife from whom he had drifted due to their dissimilar interests and acquaintances. Aretha, as Ariel’s counterpart, is critical to the eventual denouement of the film. She appears adept in determining the needs of others and is especially sensitive to Miranda, often offering her solace and companionship. Although it is hard to believe that Phillip would relinquish his relationship with the amazingly beautiful Aretha (in the person of the talented Susan Sarandon—the highlight of the film to me), it is believable that the facts of their history together and the blossoming of Miranda would cause him to reconcile with Antonia, his wife and Miranda’s mother. This reconciliation is precipitated by Aretha who announces “It’s Time to Forgive,” and is largely due to Antonia’s willingness to forgive him when she is asked to do so. Antonia’s reply of, “I’ve always loved you,” is a common response of women whose husbands have strayed and thus reinforced the accepted theory that women are generally more forgiving than men. The forgiveness and reconciliation theme is further supported by the fact that Miranda and her mother kiss and make up, although in a somewhat hurried and artificial way, and more so by the reconciliation of Alonzo and Freddy in a more convincing scene between father and son, a historically difficult relationship.
As Shakespeare advised through Prospero in The Tempest, “There, sir, stop. Let us not burden our remembrance with a heaviness that’s gone” (V. i. 229-231).
Prospero forgives:
You, brother mine …
Would here have killed your king; I do forgive thee,
Unnatural though thou art. (V. i. 82-86)
… I do forgive
Thy rankest fault, all of them … (V. i. 147-148)
At times, Mazursky’s film (Tempest 1982) seems a parody of Shakespeare’s play (The Tempest 1611). The scenes on board Alonzo’s yacht seem a little too comical and ridiculous. However, Phillip’s mid-life crisis, the catalyst of the film, seems especially real and poignant. Phillip’s discovery of a white chest hair causes him to face the reality of growing older, forcing him to examine his life. He feels threatened by his now recognized sense of eventual mortality, illustrated by the foreboding shipwreck dream. This causes him to seek a new exciting adventure, which he found in the person of Aretha, a young nymph-like free spirit who is in direct contrast to his familiar, aging wife from whom he had drifted due to their dissimilar interests and acquaintances. Aretha, as Ariel’s counterpart, is critical to the eventual denouement of the film. She appears adept in determining the needs of others and is especially sensitive to Miranda, often offering her solace and companionship. Although it is hard to believe that Phillip would relinquish his relationship with the amazingly beautiful Aretha (in the person of the talented Susan Sarandon—the highlight of the film to me), it is believable that the facts of their history together and the blossoming of Miranda would cause him to reconcile with Antonia, his wife and Miranda’s mother. This reconciliation is precipitated by Aretha who announces “It’s Time to Forgive,” and is largely due to Antonia’s willingness to forgive him when she is asked to do so. Antonia’s reply of, “I’ve always loved you,” is a common response of women whose husbands have strayed and thus reinforced the accepted theory that women are generally more forgiving than men. The forgiveness and reconciliation theme is further supported by the fact that Miranda and her mother kiss and make up, although in a somewhat hurried and artificial way, and more so by the reconciliation of Alonzo and Freddy in a more convincing scene between father and son, a historically difficult relationship.
As Shakespeare advised through Prospero in The Tempest, “There, sir, stop. Let us not burden our remembrance with a heaviness that’s gone” (V. i. 229-231).
To Err is Human, To Forgive Divine by Kayla Lane
The Tempest is a play by Shakespeare that is considered a comedy by some and a romance by others. Tempest by Paul Mazursky, is a film adaptation of The Tempest that has the happy ending of a comedy, but less intense romance than the play. There are many similarities and differences between the play and the film.
The main character in Shakespeare's play is a powerful wizard named Prospero, who is living in exile on an island with his daughter Miranda. In the beginning of the play, the ship that carries Prospero's brother Antonio and the King of Naples (Alonso), who betrayed Prospero in order to steal his dukedom, is headed towards the island. Prospero believes that he is the reason they are headed towards the island, and he conjures a tempest to wreck their ship without killing any of its passengers.
The main character in Mazursky's film is a troubled man named Phillip who lives on an island as well. Phillip goes to to the island to keep his daughter Miranda from Antonia and Alonzo. The ship that heads towards Phillip carries his former boss Alonzo and his wife Antonia. When he sees the ship headed towards the island he believes they have come to take away Miranda. Phillip was betrayed when Antonia cheated on him with Alonzo. From his isolated time on the island, Phillip becomes very close with nature. Phillip's close relationship with nature seems to have given him the illusion that he is somehow a part of it. When the ship approaches and the tempest starts in the film, Phillip seems to think he is the cause of it and that he can control it. When Phillip regains his senses and realizes he does not want to harm anyone, the tempest calms and goes away.
The play and the film are about forgiveness. When Prospero and Phillip are faced with their betrayers after their long time spent on the island, they both realize forgiveness is necessary to move on and to go home with their daughters. Prospero and Phillip indulged their obsessions while on the island. Prospero becomes obsessed with his books and magic on the island and loses touch with humanity, until he is reminded by the spirit Ariel and corrects his ways. Phillip is perhaps more troubled than Prospero was. Phillip goes through a mid-life crisis before arriving at the island and seems to not know what to do in his life; he says he wants to “wander”. While on the island, Phillip becomes obsessed with the idea of paradise, but doing so isolates him from humanity and the outside world. Ridding themselves of those obsessions and “freeing” the people on the island can only come through forgiveness. When Phillip forgives Antonia and Alonzo, he is able to move on in his life and achieve the peace he was looking for, and he is able to go back to civilization and to his home.
The main character in Shakespeare's play is a powerful wizard named Prospero, who is living in exile on an island with his daughter Miranda. In the beginning of the play, the ship that carries Prospero's brother Antonio and the King of Naples (Alonso), who betrayed Prospero in order to steal his dukedom, is headed towards the island. Prospero believes that he is the reason they are headed towards the island, and he conjures a tempest to wreck their ship without killing any of its passengers.
The main character in Mazursky's film is a troubled man named Phillip who lives on an island as well. Phillip goes to to the island to keep his daughter Miranda from Antonia and Alonzo. The ship that heads towards Phillip carries his former boss Alonzo and his wife Antonia. When he sees the ship headed towards the island he believes they have come to take away Miranda. Phillip was betrayed when Antonia cheated on him with Alonzo. From his isolated time on the island, Phillip becomes very close with nature. Phillip's close relationship with nature seems to have given him the illusion that he is somehow a part of it. When the ship approaches and the tempest starts in the film, Phillip seems to think he is the cause of it and that he can control it. When Phillip regains his senses and realizes he does not want to harm anyone, the tempest calms and goes away.
The play and the film are about forgiveness. When Prospero and Phillip are faced with their betrayers after their long time spent on the island, they both realize forgiveness is necessary to move on and to go home with their daughters. Prospero and Phillip indulged their obsessions while on the island. Prospero becomes obsessed with his books and magic on the island and loses touch with humanity, until he is reminded by the spirit Ariel and corrects his ways. Phillip is perhaps more troubled than Prospero was. Phillip goes through a mid-life crisis before arriving at the island and seems to not know what to do in his life; he says he wants to “wander”. While on the island, Phillip becomes obsessed with the idea of paradise, but doing so isolates him from humanity and the outside world. Ridding themselves of those obsessions and “freeing” the people on the island can only come through forgiveness. When Phillip forgives Antonia and Alonzo, he is able to move on in his life and achieve the peace he was looking for, and he is able to go back to civilization and to his home.
A Change of Heart by Kyle (Cecil) Jones
In what is said to be Shakespeare's last play without a co-author, The Tempest presents the main character (Prospero) seeking revenge. He has been stripped of his title (Duke of Milan) by his usurping brother (Antonio), who conspired with the king of Naples (Alonso). Prospero gets banished and ends up in exile on an island with his daughter (Miranda). Prospero learns magic on the island so he is able to conjure up a tempest. He causes the shipwreck, or an illusion of one, of the same people who banished him twelve years ago. At this point, readers expect him to exact his revenge, but he suddenly has a change of heart and forgives his enemies. His change of heart is from seeing his daughter Miranda mature, as she is now to be wedded to Alonso's son Ferdinand. This is central to his change of heart; as readers, we know he loves her very much, even though it's hard for us to see at times. Prospero's love for his daughter is best expressed when he states "I have done nothing but in care of thee, Of thee, my dear one, thee, my daughter"(1.2.19-20). Seeing his daughter grow up puts life into perspective for him; he realizes that he's not getting any younger, and he realizes that forgiveness is better than revenge. He gives up his magic, and decides to return home as Duke of Milan where he will contemplate his life. His love for Miranda, his forgiveness of his enemies, and his age all create a more sympathetic and appealing Prospero that readers can appreciate.
Paul Mazursky creates a modern-day interpretation of the play, called Tempest, which presents a slightly different story. The main character, Phillip, has reached a mid-life crisis that causes him to want to be secluded from the world. He follows through with his plan, taking his daughter Miranda and girlfriend Aretha to an island in Greece. He wants to get away from his career as an architect and from his wife (Antonia), to whom he says, "I hate you" at one point. Being on the island for a year, he has plenty of time to ponder the meaning of life. He discovers life is something you can't run away from; Phillip is found on an island by the same people he was trying to escape. Once he is found, Phillip realizes this is the end of his "paradise" on the island and that he must return to the real world. Masursky's adaptation of the play is successful as it shows a man who must get over his mid-life crisis. When he finally does so, it parallels the change of heart Prospero has when seeing his daughter is to be married. Phillip's mid-life crisis is life altering and causes him to use drastic measures. Both men experience life-altering events that cause them to have new revelations. Both the play and movie can best be described by the philosophical statement "I'm looking at the ocean and beginning to question man's destiny."
Paul Mazursky creates a modern-day interpretation of the play, called Tempest, which presents a slightly different story. The main character, Phillip, has reached a mid-life crisis that causes him to want to be secluded from the world. He follows through with his plan, taking his daughter Miranda and girlfriend Aretha to an island in Greece. He wants to get away from his career as an architect and from his wife (Antonia), to whom he says, "I hate you" at one point. Being on the island for a year, he has plenty of time to ponder the meaning of life. He discovers life is something you can't run away from; Phillip is found on an island by the same people he was trying to escape. Once he is found, Phillip realizes this is the end of his "paradise" on the island and that he must return to the real world. Masursky's adaptation of the play is successful as it shows a man who must get over his mid-life crisis. When he finally does so, it parallels the change of heart Prospero has when seeing his daughter is to be married. Phillip's mid-life crisis is life altering and causes him to use drastic measures. Both men experience life-altering events that cause them to have new revelations. Both the play and movie can best be described by the philosophical statement "I'm looking at the ocean and beginning to question man's destiny."
Fate and The Tempest by Daniel Smith
The drama in Shakespeare’s Tempest comes from Prospero’s desire to regain his social status as Duke of Milan, and return to his home. Prospero, the Duke of Milan and a powerful magician, was banished from Italy and cast to sea by his usurping brother, Antonio, and Alonso, the king of Naples. Prospero frequently hints at his plans to bring his enemies before him and to confront them for their treachery. Prospero also hints at his plans to relinquish his magic once he has confronted and forgiven his enemies.
The drama in Mazursky’s Tempest comes from the strain of marriage, and the illusion that running away can solve life’s problems. While it is nice to run and have a break from one’s problems, we can never really escape them until they have been dealt with. Phillip never chooses to deal with his problems, so much as fate seems to intervene when Alonzo’s yacht happens to pass by Phillip’s hideaway island. Reminiscent of Prospero, Phillip seems to conjure a storm from nowhere that causes Alonzo’s yacht to capsize, landing his former boss and his wife on the island with him.
In The Tempest, Shakespeare touches on nearly every human emotion—from Prospero’s plans of vengeance to his eventual forgiveness of Alonso and the people that exiled him—all with a love story, and comedy thrown in the mix. Mazursky’s interpretation shows us a more modern take on the classic tale of The Tempest. In modern times, with the monarch all but gone, we don’t really have a Duke to overthrow and send into exile, so he uses an architect that has become trapped in himself and his marriage.
Mazursky tells a story very different from Shakespeare’s while retaining enough of the story’s elements that the audience can find similarities between the two productions. Mazursky’s version keeps intact many of the characters of the play, only changing their names slightly. Mazursky keeps the sprit of the humor, the love story, and the magic of Prospero’s tempest, which lands his “enemies” on the island.
One of the things I find interesting about the two versions is where the actual tempest takes place. In Shakespeare’s Tempest the storm is used as part of the rising action; it is used in the beginning to set in motion the events to bring about Prospero’s vengeance. In Mazursky’s version, it is used as more of a climax toward the end of the story; the tempest is what brings all the characters together and ends the year of hiding out on the island. Mazursky presents his version in a modern way that many can relate to; relationships and marriages never seem to last anymore. It’s common to see middle aged men run away during a midlife crisis, or a women take on an affair. What better crisis in modern times for Phillip to deal with? He has a job, and a wife he has grown to hate. Phillip puts his life on hold by quitting his job and leaving for Greece. For eighteen months he lives in what he believes is paradise, while Aretha and Miranda grow to hate it there, and Kalibanos just wants his island back.
The Tempest has many elements that can be interpreted and compared to modern society. It serves as a reminder that throughout all the evils, dangers, mishaps or whatever conflict we may face, fate still plays an unpredictable role that can be unstoppable.
The drama in Mazursky’s Tempest comes from the strain of marriage, and the illusion that running away can solve life’s problems. While it is nice to run and have a break from one’s problems, we can never really escape them until they have been dealt with. Phillip never chooses to deal with his problems, so much as fate seems to intervene when Alonzo’s yacht happens to pass by Phillip’s hideaway island. Reminiscent of Prospero, Phillip seems to conjure a storm from nowhere that causes Alonzo’s yacht to capsize, landing his former boss and his wife on the island with him.
In The Tempest, Shakespeare touches on nearly every human emotion—from Prospero’s plans of vengeance to his eventual forgiveness of Alonso and the people that exiled him—all with a love story, and comedy thrown in the mix. Mazursky’s interpretation shows us a more modern take on the classic tale of The Tempest. In modern times, with the monarch all but gone, we don’t really have a Duke to overthrow and send into exile, so he uses an architect that has become trapped in himself and his marriage.
Mazursky tells a story very different from Shakespeare’s while retaining enough of the story’s elements that the audience can find similarities between the two productions. Mazursky’s version keeps intact many of the characters of the play, only changing their names slightly. Mazursky keeps the sprit of the humor, the love story, and the magic of Prospero’s tempest, which lands his “enemies” on the island.
One of the things I find interesting about the two versions is where the actual tempest takes place. In Shakespeare’s Tempest the storm is used as part of the rising action; it is used in the beginning to set in motion the events to bring about Prospero’s vengeance. In Mazursky’s version, it is used as more of a climax toward the end of the story; the tempest is what brings all the characters together and ends the year of hiding out on the island. Mazursky presents his version in a modern way that many can relate to; relationships and marriages never seem to last anymore. It’s common to see middle aged men run away during a midlife crisis, or a women take on an affair. What better crisis in modern times for Phillip to deal with? He has a job, and a wife he has grown to hate. Phillip puts his life on hold by quitting his job and leaving for Greece. For eighteen months he lives in what he believes is paradise, while Aretha and Miranda grow to hate it there, and Kalibanos just wants his island back.
The Tempest has many elements that can be interpreted and compared to modern society. It serves as a reminder that throughout all the evils, dangers, mishaps or whatever conflict we may face, fate still plays an unpredictable role that can be unstoppable.
Show Me the Magic by Jamie Mann
William Shakespeare’s The Tempest is a play about revenge and forgiveness. Prospero and his daughter Miranda are forced to escape to an island because his brother Antonio had stolen his throne. On this island, Prospero awaits his chance to enact his revenge and is plagued with the need to reclaim his rule. The movie Tempest is about seeking escape as well as forgiveness. In Mazursky’s film, the main character, Philip, is an architect going through a mid-life crisis as his wife, Antonia, betrays him by being adulterous. Unlike Prospero, Philip chooses to seclude himself on the island. The parallel between Philip and Prospero is that they both have had something special taken from them. Both Philip and Prospero are extremely self-absorbed, refusing to recognize anybody else’s feeling but their own. Prospero, aiming to restore order, takes justice into his own hands and conjures up a storm as his brother and crew are coming back from a wedding. Prospero is full of resentment and bent on revenge. Philip has subconsciously been plotting retaliation; he has been deeply hurt, but only shows his profound resentment when he conjures a storm to bring Antonia, her boyfriend, and their crew to the island.
Ariel in Shakespeare’s play is a spirit who is indebted to Prospero for rescuing him from an entrapment laid upon him by the mother of the one and only island resident, Caliban. Ariel is a critical character in the play, helping Prospero as if he were playing a clever game of chess using his brother and his shipmates as pawns. Both Ariel and Aretha, the Ariel character, play a vital role in bringing Prospero and Philip to realize the impact of their actions. Aretha, who is an incredibly attractive woman, throws herself at Philip and he denies her at every move. The sexual tension between Philip and Aretha (his refusal to give in to her advances), coupled with the vision of his wife through Miranda, shows that no matter how bad Antonia may have hurt Philip, he still loves his wife. Prospero, after being told of his brother’s suffering by Ariel, immediately shows a reserved remorse for his actions and asks Ariel to release his brother and his men from the bondage he placed upon them.
Soon after the storms subside, both Philip and Prospero have a sudden change of heart. Philip wants to return home and to the normal life he had with his wife and daughter. Prospero wants things to return to the way they were before. Prospero wants to reclaim his status as the Duke of Milan, and even though his brother has betrayed him in such a horrible manner, Prospero decides to be the bigger man, saying “with nobler reason ‘gainst my fury do I take part. The rarer action is in virtue than in vengeance” (5. 1. 30-32). Both Prospero and Philip rise above their need for revenge and exercise the rarest of actions, forgiveness after extreme betrayal.
Ariel in Shakespeare’s play is a spirit who is indebted to Prospero for rescuing him from an entrapment laid upon him by the mother of the one and only island resident, Caliban. Ariel is a critical character in the play, helping Prospero as if he were playing a clever game of chess using his brother and his shipmates as pawns. Both Ariel and Aretha, the Ariel character, play a vital role in bringing Prospero and Philip to realize the impact of their actions. Aretha, who is an incredibly attractive woman, throws herself at Philip and he denies her at every move. The sexual tension between Philip and Aretha (his refusal to give in to her advances), coupled with the vision of his wife through Miranda, shows that no matter how bad Antonia may have hurt Philip, he still loves his wife. Prospero, after being told of his brother’s suffering by Ariel, immediately shows a reserved remorse for his actions and asks Ariel to release his brother and his men from the bondage he placed upon them.
Soon after the storms subside, both Philip and Prospero have a sudden change of heart. Philip wants to return home and to the normal life he had with his wife and daughter. Prospero wants things to return to the way they were before. Prospero wants to reclaim his status as the Duke of Milan, and even though his brother has betrayed him in such a horrible manner, Prospero decides to be the bigger man, saying “with nobler reason ‘gainst my fury do I take part. The rarer action is in virtue than in vengeance” (5. 1. 30-32). Both Prospero and Philip rise above their need for revenge and exercise the rarest of actions, forgiveness after extreme betrayal.
The Drama of Play and Film by Sha'keela McClendon
The Tempest, written by William Shakespeare, is an amazing romance story. From the sight of first love, to the plot of assassination. Shakespeare’s The Tempest takes fantasy and magic to a whole new level. Tempest, produced and filmed by Paul Mazursky, is the remake of Shakespeare’s Tempest. One can see many similarities between these works, but there are also differences. One main difference is that the film doesn’t start out like the play does.
The drama in both works is very different. In the movie the drama is more about Philip (Prospero) and his wife. It all starts when Philip has a mid- life crisis and decides to quit his job. In his new-found discovery of himself, he finds out that his beloved wife is having an affair with his former boss. After their decision to split up, he takes with him his new found girlfriend and his daughter to live in peace and sanity on an island. Even when he tries to get away from his wife to this deserted island, she returns with her new boyfriend in his presence. As the movie goes on Philip acts as if he is Prospero, conjuring up a storm to hit the boat. Seeing that the storm is getting out of control, he realizes that he must jump in to save them. With all the hate between him and his ex wife, they seem to rekindle the memories and get back together, leaving his girlfriend and her husband to hook up.
In the play, the drama is very different; it has many different plots and schemes. The drama first starts out when Prospero conjures up a storm to cause what is meant to appear as a ship wreck. On this boat is his brother Antonio. Antonio, who seized Prospero’s title and property, had Prospero and his daughter Miranda exiled to the island. Another scheme that Prospero has going on is the love connection between his daughter Miranda and the king’s son Ferdinand. Prospero sets this up with the help of his spirit friend Ariel. Ariel, who was once seized by the witch Sycorax, is now the assistant of Prospero. In the entire play, he assists Prospero with the retribution against his enemies. There’s also two assassination plots in play. Trinculo, Stefano, and Caliban aim to kill Propsero and lord it over the island, while Antonio and Sebastian all plot to kill the king in hopes of gaining power back in their land. As you can see, the drama in both the works is somewhat similar but very different.
None of these plots are given much attention; instead, the play is about human nature and the division between happiness and tragedy. Although the play ends with the promise of a wedding, it could have easily ended up in a tragedy. With the two assassination plots, the play could have ended up in a bloody mass like Shakespeare’s other works.
Mazursky’s tale of The Tempest is very compelling to his audience just because it tells of a modern story with an American family. The lies, deceit and betrayal all are qualities of an American home with a little twist of William Shakespeare. He shows his American audience that even though you have crisis in your life you should always work out the problem and not think of yourself so much as a God but an improving individual.
The drama in both works is very different. In the movie the drama is more about Philip (Prospero) and his wife. It all starts when Philip has a mid- life crisis and decides to quit his job. In his new-found discovery of himself, he finds out that his beloved wife is having an affair with his former boss. After their decision to split up, he takes with him his new found girlfriend and his daughter to live in peace and sanity on an island. Even when he tries to get away from his wife to this deserted island, she returns with her new boyfriend in his presence. As the movie goes on Philip acts as if he is Prospero, conjuring up a storm to hit the boat. Seeing that the storm is getting out of control, he realizes that he must jump in to save them. With all the hate between him and his ex wife, they seem to rekindle the memories and get back together, leaving his girlfriend and her husband to hook up.
In the play, the drama is very different; it has many different plots and schemes. The drama first starts out when Prospero conjures up a storm to cause what is meant to appear as a ship wreck. On this boat is his brother Antonio. Antonio, who seized Prospero’s title and property, had Prospero and his daughter Miranda exiled to the island. Another scheme that Prospero has going on is the love connection between his daughter Miranda and the king’s son Ferdinand. Prospero sets this up with the help of his spirit friend Ariel. Ariel, who was once seized by the witch Sycorax, is now the assistant of Prospero. In the entire play, he assists Prospero with the retribution against his enemies. There’s also two assassination plots in play. Trinculo, Stefano, and Caliban aim to kill Propsero and lord it over the island, while Antonio and Sebastian all plot to kill the king in hopes of gaining power back in their land. As you can see, the drama in both the works is somewhat similar but very different.
None of these plots are given much attention; instead, the play is about human nature and the division between happiness and tragedy. Although the play ends with the promise of a wedding, it could have easily ended up in a tragedy. With the two assassination plots, the play could have ended up in a bloody mass like Shakespeare’s other works.
Mazursky’s tale of The Tempest is very compelling to his audience just because it tells of a modern story with an American family. The lies, deceit and betrayal all are qualities of an American home with a little twist of William Shakespeare. He shows his American audience that even though you have crisis in your life you should always work out the problem and not think of yourself so much as a God but an improving individual.
Sunday, August 15, 2010
The Tempest: Play and Film by Rebekah Josey
In the early 1600s, William Shakespeare wrote a play entitled The Tempest, which has kept many minds and imaginations pondering about human interaction and the world in which we live. In 1982, Paul Mazursky made the famous play into a film. Although the film was based on Shakespeare's play, it had its own unique interpretation of the story, presenting it in such a way that a contemporary audience could relate. Despite having many differences, both the play and the film both share the same fundamental characteristic: they are dramatic. The dramas of both the play and the film are similar, but have different contexts. The drama of Shakespeare's The Tempest is Prospero's illusion of Justice when it comes to avenging his rightful title, and how he must learn to forgive in spite of the wrong that was done against him. In Mazursky's Tempest, the drama is the fact that Phillip must learn to properly deal with his problems, and that he cannot simply run away from them.
Shakespeare's The Tempest depicts the difficult life of an old man named Prospero who is stripped of his title as Duke of Milan by his brother, Antonio. As a result, he is forced to escape to an almost deserted island accompanied only by his young daughter, Miranda. While he is on the island, Prospero's main concern is to get revenge on all the people who have done him wrong. However, Prospero seems to have somewhat of a double standard when it comes to justice. Although he acts as a victim of extreme injustice, he has no convictions for his unjust actions towards Ariel, who is a spirit on the island and a source of Prospero's magical abilities, as well as his cruel actions towards Caliban, the deformed son of an evil witch. He uses both of these characters to attempt to achieve his end goal. Shakespeare presents a very prominent part of human experience and existence, that is, the ability to forgive. He plays off the fact that humans have and are run by emotions. Near the end of play after Prospero has captured all of the people who have done him wrong, he inquires Ariel on their current state after some of them have had his spells cast upon them. This is an important turning point for the character of Prospero, because Ariel helps him realize that he should have compassion on them. Ariel tells Prospero that “if [he] now beheld them, [his] affections would become tender”(Act 5, Scene 1, line 18). Prospero then asks Ariel if his affections would change, and Ariel replies: “Mine would sir, if I were human” (5, 1, 20). Prospero then realizes that he must have compassion on these people, for Ariel is simply made of air and he is able to feel sorry for them. Therefore, Prospero decides the right thing to do is have compassion and let them go. In the end of the play, it is expected that since Prospero succeeded in getting the conspirators on his island, that he would follow through with his plot to seek revenge. However, the unexpected happens. Prospero decides to forgive the wrong that was done against him, and return home with everyone. So even though at first Prospero seems to have a double standard about justice, in the end, he ultimately decides to do the right thing and forgive.
Similarly, Mazursky's Tempest depicts a middle aged man, Phillip, who travels to an island with his young daughter. However, he ventures there by choice, trying to escape the problems and hassles of his mediocre life. This mid-life crisis causes him to become bitter towards the people he loves, including his wife and, at times, his daughter. After deciding to leave his wife, he travels to Greece, where he meets the beautiful young singer, Aretha, who portrays the character of Ariel from Shakespeare's play. On the spur of the moment they decide to go to a secluded island, where Phillip can hide from his wife and the other people in his life. The drama in this film is shown in how Phillip tries to unsuccessfully deal with his issues. In life, it is impossible to simply run away from your problems. Sooner or later, they will catch up to you. Mazursky demonstrates this fundamental aspect of life in how no matter where Phillip goes, his wife and the other people he is running from always end up coming in contact with him in one way or another. Likewise, in life, if you try to run away from your problems, they will eventually catch up to you. In the end however, Phillip is forced to face his issues, and deal with the problems of his life when his wife and the others come to the island. In doing so, he releases himself from the cage of bitterness he had built around him, and is able to emerge a happier and more fulfilled man.
Shakespeare's The Tempest and Mazursky's Tempest both contain dramatic representations of a story about human life. Shakespeare utilizes the fact that all humans have emotions and must learn to forgive to unfold his drama, while Mazursky showed us that one cannot simply run away from their problems, and that they must learn to deal with them properly and move on with life.
Shakespeare's The Tempest depicts the difficult life of an old man named Prospero who is stripped of his title as Duke of Milan by his brother, Antonio. As a result, he is forced to escape to an almost deserted island accompanied only by his young daughter, Miranda. While he is on the island, Prospero's main concern is to get revenge on all the people who have done him wrong. However, Prospero seems to have somewhat of a double standard when it comes to justice. Although he acts as a victim of extreme injustice, he has no convictions for his unjust actions towards Ariel, who is a spirit on the island and a source of Prospero's magical abilities, as well as his cruel actions towards Caliban, the deformed son of an evil witch. He uses both of these characters to attempt to achieve his end goal. Shakespeare presents a very prominent part of human experience and existence, that is, the ability to forgive. He plays off the fact that humans have and are run by emotions. Near the end of play after Prospero has captured all of the people who have done him wrong, he inquires Ariel on their current state after some of them have had his spells cast upon them. This is an important turning point for the character of Prospero, because Ariel helps him realize that he should have compassion on them. Ariel tells Prospero that “if [he] now beheld them, [his] affections would become tender”(Act 5, Scene 1, line 18). Prospero then asks Ariel if his affections would change, and Ariel replies: “Mine would sir, if I were human” (5, 1, 20). Prospero then realizes that he must have compassion on these people, for Ariel is simply made of air and he is able to feel sorry for them. Therefore, Prospero decides the right thing to do is have compassion and let them go. In the end of the play, it is expected that since Prospero succeeded in getting the conspirators on his island, that he would follow through with his plot to seek revenge. However, the unexpected happens. Prospero decides to forgive the wrong that was done against him, and return home with everyone. So even though at first Prospero seems to have a double standard about justice, in the end, he ultimately decides to do the right thing and forgive.
Similarly, Mazursky's Tempest depicts a middle aged man, Phillip, who travels to an island with his young daughter. However, he ventures there by choice, trying to escape the problems and hassles of his mediocre life. This mid-life crisis causes him to become bitter towards the people he loves, including his wife and, at times, his daughter. After deciding to leave his wife, he travels to Greece, where he meets the beautiful young singer, Aretha, who portrays the character of Ariel from Shakespeare's play. On the spur of the moment they decide to go to a secluded island, where Phillip can hide from his wife and the other people in his life. The drama in this film is shown in how Phillip tries to unsuccessfully deal with his issues. In life, it is impossible to simply run away from your problems. Sooner or later, they will catch up to you. Mazursky demonstrates this fundamental aspect of life in how no matter where Phillip goes, his wife and the other people he is running from always end up coming in contact with him in one way or another. Likewise, in life, if you try to run away from your problems, they will eventually catch up to you. In the end however, Phillip is forced to face his issues, and deal with the problems of his life when his wife and the others come to the island. In doing so, he releases himself from the cage of bitterness he had built around him, and is able to emerge a happier and more fulfilled man.
Shakespeare's The Tempest and Mazursky's Tempest both contain dramatic representations of a story about human life. Shakespeare utilizes the fact that all humans have emotions and must learn to forgive to unfold his drama, while Mazursky showed us that one cannot simply run away from their problems, and that they must learn to deal with them properly and move on with life.
The Tempest: The Importance of Setting by Rob North
Drama can be defined as tension. In the context of a play or film, drama means that the audience is expecting something to happen between two characters that are experiencing tension with each other. Shakespeare, in The Tempest, and Mazursky, in his film adaptation of The Tempest, expertly use conflict and setting to convey drama to the audience. The audience is introduced to the theme of conflict in the form of a flashback. “… did Antonio open The gates of Milan, and, I’th’ dead of darkness, The ministers for th’ purpose hurried Thence Me … they hurried us onto a ship and carried us a number of miles out to sea…”(1.2.150-153,169-170). Here, Prospero is telling his daughter, Miranda, the sordid tale of how they came to be on the island and why he whipped up the tempest to exact revenge upon his brother Antonio. What better way is there to set up an audience’s expectation of conflict than tensions between two ambitious brothers? The island, as a setting, is critical to both the plot and major conflicts presented by Shakespeare. The island magnifies the conflict and brings everyone’s true colors to the surface. One could say the island “ups the ante” for potential violent conflict as some of the inhabitants set eyes on new opportunities because of being stranded on the island. An example would be Antonio, who is meant to represent the evils of human ambition, plots to kill Gonzalo so that he may be next in line to inherit the throne of Naples. “Draw together. And when I rear my hand, do you the like. To fall it on Gonzalo” (2.1.337-339). Ultimately, Antonio fails in his plot to kill Gonzalo but Shakespeare has successfully brought the audience to “the edge of its seat” in anticipation.
On the other hand, Mazursky uses setting and conflict just as competently as Shakespeare does but does so in a much different way. Already suffering from mid-life crisis in which he feels as if he has lost all control of his life, the films protagonist, Phillip, catches his boss courting his wife. This incident pushes Phillip “over the edge” driving him to voluntarily leave the country and eventually to settle on a desolate island. Conflict on Mazursky’s island is offered in the form of Phillip, his daughter, and girlfriend, adjusting to their new lives on the island as well as Phillips power over them. This island works well for this particular story because it allows Phillip to run away from his problems only to realize that over time he has become what he ran away from: an ambitious control freak. The audience sees the transformation when Phillip conjures a powerful and dramatic storm that nearly drowns all of his former friends. Mazursky’s interpretation of The Tempest is successful because it presents a modern day depiction of the human experience in a way that is just as compelling and thought provoking as Shakespeare’s Tempest.
On the other hand, Mazursky uses setting and conflict just as competently as Shakespeare does but does so in a much different way. Already suffering from mid-life crisis in which he feels as if he has lost all control of his life, the films protagonist, Phillip, catches his boss courting his wife. This incident pushes Phillip “over the edge” driving him to voluntarily leave the country and eventually to settle on a desolate island. Conflict on Mazursky’s island is offered in the form of Phillip, his daughter, and girlfriend, adjusting to their new lives on the island as well as Phillips power over them. This island works well for this particular story because it allows Phillip to run away from his problems only to realize that over time he has become what he ran away from: an ambitious control freak. The audience sees the transformation when Phillip conjures a powerful and dramatic storm that nearly drowns all of his former friends. Mazursky’s interpretation of The Tempest is successful because it presents a modern day depiction of the human experience in a way that is just as compelling and thought provoking as Shakespeare’s Tempest.
Mazursky's Tempest: Who Can Compete With Shakespeare? by Brittni Kelly
Shakespeare’s play The Tempest grasps our attention through the dramatic illusion of justice. It tells a rather straightforward story involving an unfair act (the theft of Prospero’s throne by his brother), and Prospero’s mission to reinstate himself. However, the proposal of integrity that the play works toward seems highly biased, since this idea is represented through the view of one character that reins the fate of all the other characters. Prospero presents himself as a victim of injustice working to right the wrongs that have been done to him. His ideas are somewhat hypocritical; he is furious with his brother for taking his power, yet he has no misgivings for enslaving Ariel and Caliban in order to achieve his plans. Many moments throughout the play Prospero’s sense of justice seems to be only what is good for him. On the other hand the play is confusing due to the fact that we only have Prospero’s point of view of the events taking place. In the end he forgives his enemies and releases his slaves, appearing to be an old man whose work has been responsible for the audience’s pleasure. It is as if Shakespeare was saying happy endings are possible even if they only originate from the imagination of the artist. On another note, he shows us that family is important and holding a grudge will get you no where. Prospero and Alonso were brought back together because Prospero forgave him of his treachery. His daughter got married to a prince and will get to live a normal life.
Mazursky gives us the same storyline, but we get to see it through the eyes of several characters. He gets our attention through a lover’s scandal that leads to a mid-life crisis of Phillip (Prospero). Phillip quits his job and leaves his wife, who is having an affair with his boss. He runs away to Greece and brings his daughter Miranda along with him, and they meet an American singer Aretha. They escape to a deserted island for peace and serenity. Mazursky’s interpretation shows us that you cannot run from your problems, because they will find you. Phillip ran to the island for comfort, only to be found a year later by his wife. They end up realizing their love for each other and go home. His interpretation is successful because anyone can relate to it, excluding the private island ordeal. People can understand the feelings of the characters and show empathy. I felt as if he did make a compelling story for the audience. He did not exactly get the same point across as Shakespeare did, but he still managed to make it work. After all, who can compete with Shakespeare?
Mazursky gives us the same storyline, but we get to see it through the eyes of several characters. He gets our attention through a lover’s scandal that leads to a mid-life crisis of Phillip (Prospero). Phillip quits his job and leaves his wife, who is having an affair with his boss. He runs away to Greece and brings his daughter Miranda along with him, and they meet an American singer Aretha. They escape to a deserted island for peace and serenity. Mazursky’s interpretation shows us that you cannot run from your problems, because they will find you. Phillip ran to the island for comfort, only to be found a year later by his wife. They end up realizing their love for each other and go home. His interpretation is successful because anyone can relate to it, excluding the private island ordeal. People can understand the feelings of the characters and show empathy. I felt as if he did make a compelling story for the audience. He did not exactly get the same point across as Shakespeare did, but he still managed to make it work. After all, who can compete with Shakespeare?
The Illusion of Control by Matt Hartenstein
The movie Tempest is a modern day interpretation of Shakespeare’s The Tempest and is full of drama from the beginning of the movie, with its foreshadowing “nightmare”, which turns into a reality, to the relationships and conflicts throughout. The main drama of the film is Philip and the slow loss of his sanity. Philip is an architect. He works for Alonzo designing and building casinos for him. At one of the construction sites, Philip has a vision of jumping/falling off the casino and killing himself. He immediately looks at Alonso and says, “I quit,” leaving the audience to ponder why he quit so suddenly. In a confrontational scene with his wife, he explains how he hates everything. His big plan is foreshadowed when he is on the helicopter and says he’s going to, “...find me an island and just watch the sunrise”(Tempest). During Philip’s stay on the island, the audience can see more and more the evidence of his loss of sanity. The audience witnesses an example of this firsthand when we see Philip, Kalibanos, Miranda, and Aretha renovate an old outdoor theater for tourists; why someone would want to remodel a theater on an island where almost no one visits is anyone’s guess. Near the end of the movie we see that Philip has lost his sanity; when Kalibanos tells Philip that tourists are coming, something that he should be excited about because this is the whole reason he was building a theater in the first place, Philip nonchalantly babbles on about baseball. When Philip finally does see that a boat is on its way, he finds out that it’s Alonzo and his “crew”. Philip then decides to “call forth” a tempest to destroy the boat. It is at this point that the film arrives at its climax. This is when Philip’s insanity reaches its apex; he is standing outside chanting and dancing for a storm, definitely not something a sane person would do, at least not with belief in the act. At the end we see Philip back with Antonia, his wife (after an affair of a little over a year with Alonzo), and everyone seems to have found someone.
In Shakespeare’s play The Tempest, the major drama is the revenge that Prospero seeks against those who took his throne from him and marooned him on the island. The first evidence the audience sees of Prospero’s want for revenge is with the tempest that he summons upon his brother’s ship. In contrast to the film, Prospero has complete control over his tempest while Philip tries to stop it after he sees that he has lost control over “his” tempest. In Prospero’s attempt to seek revenge, instead of flat out killing Antonio, his brother, the audience sees that maybe he has thought many steps ahead. This is evidenced by the fact that he tries to establish a relationship with his daughter, Miranda, and Ferdinand, the next in line to the throne. Prospero knew that if he were to “play his cards right” he might have a chance at regaining what is rightfully his instead of seeking cold-blooded vengeance. This is evidenced by the fact that at the end of the story Prospero has a “change of heart” and Alonzo, Sebastian, and Antonio, his own brother who turned against him.
In Shakespeare’s play The Tempest, the major drama is the revenge that Prospero seeks against those who took his throne from him and marooned him on the island. The first evidence the audience sees of Prospero’s want for revenge is with the tempest that he summons upon his brother’s ship. In contrast to the film, Prospero has complete control over his tempest while Philip tries to stop it after he sees that he has lost control over “his” tempest. In Prospero’s attempt to seek revenge, instead of flat out killing Antonio, his brother, the audience sees that maybe he has thought many steps ahead. This is evidenced by the fact that he tries to establish a relationship with his daughter, Miranda, and Ferdinand, the next in line to the throne. Prospero knew that if he were to “play his cards right” he might have a chance at regaining what is rightfully his instead of seeking cold-blooded vengeance. This is evidenced by the fact that at the end of the story Prospero has a “change of heart” and Alonzo, Sebastian, and Antonio, his own brother who turned against him.
Saturday, August 14, 2010
Forgiveness is Better Than Revenge by Hillary Futch
Mazursky’s Tempest shows the audience that everyone goes through tough times. Phillip went through a mid-life crisis and hated everyone and everything going on in his life. Phillip and Miranda, unlike Prospero and Miranda, go to this deserted island to get away from “society”; Prospero and Miranda go to the island because they are forced there. Shakespeare introduces these characters during the time of the storm. You are first introduced to the characters on the ship, and then you are introduced to Prospero, who is responsible for the storm, and the people on the island. In the film we are introduced to Phillip, who is based on the Prospero character, on the island living his life every way he wants to. He lives with a beautiful woman and his daughter Miranda. We do not find out till later that Phillip dreams of this storm and bodies lying in water and that he is also responsible for the storm.
Phillip travels to Greece to get away from his life in New York City. His wife leaves him and he is unhappy with his job. When in Greece he meets Aretha, who based on the character Ariel, and she introduces him to the island. Unlike Phillip, Prospero has no choice but to go to the island; his plan of action is to seek revenge on the people that put him there.
Both Shakespeare and Mazursky show their audiences that forgiveness is always better than revenge. In Mazursky’s film, when Phillip finds out that the boat that is nearby is Alonzo’s, he wants to sink the boat out of revenge, but quickly finds out that revenge isn’t always the best route to take. Phillip forgives his wife and leaves the island with his daughter and his wife back in his arms. Prospero leaves the island with his daughter and his future son-in-law.
Mazursky tells a captivating tale to the audience and his interpretation of the play is successful. He tells the story and pulls the audience in to show the similarities and differences between the play and the movie. It’s a modern twist to the classical and Shakespearian tale of Prospero, Miranda, and all the people they meet along the way. His interpretation of the play shows how even in modern day society people go through the same things that the people in Shakespeare’s time went through. In this time period, people look at Shakespeare’s works and say “I do not understand,” but most people do not give them a chance. Mazursky took an ordinary occurrence and changed it to fit in with what Prospero went through; the language and overall tone was different but the storyline was still basically the same thing: forgiveness is better than revenge.
Phillip travels to Greece to get away from his life in New York City. His wife leaves him and he is unhappy with his job. When in Greece he meets Aretha, who based on the character Ariel, and she introduces him to the island. Unlike Phillip, Prospero has no choice but to go to the island; his plan of action is to seek revenge on the people that put him there.
Both Shakespeare and Mazursky show their audiences that forgiveness is always better than revenge. In Mazursky’s film, when Phillip finds out that the boat that is nearby is Alonzo’s, he wants to sink the boat out of revenge, but quickly finds out that revenge isn’t always the best route to take. Phillip forgives his wife and leaves the island with his daughter and his wife back in his arms. Prospero leaves the island with his daughter and his future son-in-law.
Mazursky tells a captivating tale to the audience and his interpretation of the play is successful. He tells the story and pulls the audience in to show the similarities and differences between the play and the movie. It’s a modern twist to the classical and Shakespearian tale of Prospero, Miranda, and all the people they meet along the way. His interpretation of the play shows how even in modern day society people go through the same things that the people in Shakespeare’s time went through. In this time period, people look at Shakespeare’s works and say “I do not understand,” but most people do not give them a chance. Mazursky took an ordinary occurrence and changed it to fit in with what Prospero went through; the language and overall tone was different but the storyline was still basically the same thing: forgiveness is better than revenge.
The Film Tells a Better Story by Maranda Deal
Can you imagine being put on island with only you and minimal other people? Who is going to be the ruler? Who is going to be the teacher? Where would all of you find food? And—for most people—the most important thing: what will be the source of income? All of these questions would run through the mind of stranded people. This isn’t the main dilemma in The Tempest, but it is what comes to my mind.
The play and the movie have different plots. The main character in the movie is Phillip. He went to an island to get away from the hustle and bustle of everyday life. So he took off to Greece with his daughter Miranda and a woman he met, Aretha. They soon flee to this island in hopes of Phillip keeping his daughter Miranda. She doesn’t want to go back and live with her mom, since her mom has a new man in her life. Later in the story, the people Phillip is trying to avoid become shipwrecked on his island. Phillip has the option to leave them be or go rescue them, and he goes to rescue them. Then there comes the infamous question, who’s the boss? Phillip thinks that he is, but he really has no idea how to run an island with people on it.
Prospero has a different story, though. He was put on an island by his brother Antonio, where he and his daughter were banished. They were on the island for 12 years. Prospero was stuck on his ideals and wanted what he wanted and nothing more; therefore, he didn’t believe that anyone else should have an opinion.
In my opinion the movie portrays a better story line. Although it was still confusing at times, it was less confusing than the play. Mazursky’s version of Tempest was actually a good movie, even down to the blonde bimbo talking about what our destiny should be. Mazursky was intense with this story. Phillip’s rescuing of the shipwrecked people spoke to me. After everything that had happened between Phillip and his estranged wife Antonia, he still went to help them. After they got nestled into the island life, Phillip went to contemplate by himself in his room. I think that his true feat in this movie was forgiveness. He thought about what all had happened while he was on the island and the ironic situation of his ex becoming shipwrecked on his island, and forgave all of them. He then went down and joined the party with everyone. The next day they all were homeward bound, Phillip and Antonia back together. Phillip learned valuable information while he was on that island, one of those lessons being forgiveness. He learned to forgive and let go of the past, which a lot of people these days still don’t know how to do.
The play and the movie have different plots. The main character in the movie is Phillip. He went to an island to get away from the hustle and bustle of everyday life. So he took off to Greece with his daughter Miranda and a woman he met, Aretha. They soon flee to this island in hopes of Phillip keeping his daughter Miranda. She doesn’t want to go back and live with her mom, since her mom has a new man in her life. Later in the story, the people Phillip is trying to avoid become shipwrecked on his island. Phillip has the option to leave them be or go rescue them, and he goes to rescue them. Then there comes the infamous question, who’s the boss? Phillip thinks that he is, but he really has no idea how to run an island with people on it.
Prospero has a different story, though. He was put on an island by his brother Antonio, where he and his daughter were banished. They were on the island for 12 years. Prospero was stuck on his ideals and wanted what he wanted and nothing more; therefore, he didn’t believe that anyone else should have an opinion.
In my opinion the movie portrays a better story line. Although it was still confusing at times, it was less confusing than the play. Mazursky’s version of Tempest was actually a good movie, even down to the blonde bimbo talking about what our destiny should be. Mazursky was intense with this story. Phillip’s rescuing of the shipwrecked people spoke to me. After everything that had happened between Phillip and his estranged wife Antonia, he still went to help them. After they got nestled into the island life, Phillip went to contemplate by himself in his room. I think that his true feat in this movie was forgiveness. He thought about what all had happened while he was on the island and the ironic situation of his ex becoming shipwrecked on his island, and forgave all of them. He then went down and joined the party with everyone. The next day they all were homeward bound, Phillip and Antonia back together. Phillip learned valuable information while he was on that island, one of those lessons being forgiveness. He learned to forgive and let go of the past, which a lot of people these days still don’t know how to do.
Is There a Shakespeare Play in This Film Somewhere? by Danielle Moran
There’s a lot to love about Shakespeare’s and Mazursky’s Tempest. The play and the movie are based on a storm that sets the tone. The theme of reality vs. appearance is highlighted through the use of magic in the play and film. In the play, Prospero and his daughter Miranda were force into exile, but in the film Phillip is willing travel to the remote island. Suffering from much grief and sorrow, his exile causeds him to grow angry and want revenge. The attitude and actions of the major characters in the play and movie, specifically Prospero, illustrate that there is little, if any, true forgiveness and reconciliation in The Tempest. The drama of Williams Shakespeare’ s Tempest, and Mazursky’s Tempest is about forgiveness, reconciliation, and faith. However it is clear that the theme of forgiveness is at the heart of the drama. What is up for debate is to what extent the playwright and director realize forgiveness in the production. The Tempest is Shakespeare’s insight on political ideas and religious ideas concerning the state. It was common to marry across nations. Miranda’s marriage to Ferdinand is a political move to seal Prospero’s regaining of the royal throne.
Shakespeare was a remarkable storyteller, therefore his plays transcend in time and culture. It is quite confusing and not clear in the play or movie where the audience’s sympathies should lie. Therefore, the human experience that Shakespeare and Mazursky present to their audience ranges in human emotions. In the play, Prospero is difficult to sympathize with because he has been treated so badly and wants to seek revenge. For example, Prospero’s title in Milan was usurped, yet he did the same thing to Caliban and Ariel by taking control over their island. Also, Prospero uses his magic as a form of power and control to get his own way in every situation. Miranda is Prospero’s daughter, and although she does not play a major role, her character is unforgettable.
In Mazursky’s film, Miranda seem like the main focus instead of her father Phillip. Although the play and film have common characteristics, I believe Mazursky’s film adapted Shakespeare’s Tempest to suit the modern world. Mazursky’s interpretation is successful because he found ways to shift the basic elements of the setting and tone by using flashbacks. In the flashbacks, we learn the circumstance that prompt Philip (Prospero) to quit his job, end his marriage, and travel to a Greek island. Although Mazursky does explore some concepts relevant in The Tempest, the film switches narrative form from one scene to the next. The plots are very different. Therefore, the connection between the play and movie is very slight. All the elements, and the main magic that gives the play its power, are ignored, and are replaced with a plot of a man going through a midlife crisis.
Shakespeare was a remarkable storyteller, therefore his plays transcend in time and culture. It is quite confusing and not clear in the play or movie where the audience’s sympathies should lie. Therefore, the human experience that Shakespeare and Mazursky present to their audience ranges in human emotions. In the play, Prospero is difficult to sympathize with because he has been treated so badly and wants to seek revenge. For example, Prospero’s title in Milan was usurped, yet he did the same thing to Caliban and Ariel by taking control over their island. Also, Prospero uses his magic as a form of power and control to get his own way in every situation. Miranda is Prospero’s daughter, and although she does not play a major role, her character is unforgettable.
In Mazursky’s film, Miranda seem like the main focus instead of her father Phillip. Although the play and film have common characteristics, I believe Mazursky’s film adapted Shakespeare’s Tempest to suit the modern world. Mazursky’s interpretation is successful because he found ways to shift the basic elements of the setting and tone by using flashbacks. In the flashbacks, we learn the circumstance that prompt Philip (Prospero) to quit his job, end his marriage, and travel to a Greek island. Although Mazursky does explore some concepts relevant in The Tempest, the film switches narrative form from one scene to the next. The plots are very different. Therefore, the connection between the play and movie is very slight. All the elements, and the main magic that gives the play its power, are ignored, and are replaced with a plot of a man going through a midlife crisis.
Redemption on Stage and on Screen by Cindy Clark
The Tempest, a romantic tragicomedy, is one of William Shakespeare's later works. It is a more serious play, dealing with the theme of redemption. As Prospero is about to explain to Miranda why they are there on the island she asks if it is because of foul play or if it is a blessing, and he answers it is both. Of course, it was foul play that landed them there, but, during the course of time, something happened that caused Prospero to consider it a blessing; maybe, it was all the free time he now had to spend with his daughter. Perhaps the time he spent isolated from the rest of the world gave him a better perspective of what is really important in life. Unfortunately, many times it is only after losing something that means so much to us that we are truly able to see the importance and value it held in our life. Initially, the play gives the impression that Prospero is out for revenge, but as the story unfolds, you see it isn't revenge he is after, but restoration and healing. His love for his daughter, concern for her future happiness, and the realization that she (and he) is getting older, is his inspiration.
The film Tempest is a modern-day interpretation of the play, and although it is not an exact replica, there are similarities. One similarity is that Phillip is isolated on an island away from civilization. Unlike Prospero, he wasn't forced against his will to go there; he wanted to. He needs a change, a new perspective on life. The longer he stays away on the island, the more he loses touch with reality. He begins to feel as if he has some supernatural power. Maybe he started to think of himself as God; however, as the storm rages out of control, Kalibanos reminds him, "You not God: only God God". Drama on stage and in film often reflects the drama of everyday life. The ups and downs of life can sometimes make a person question what is really important. Everyone can relate to that at some point in their life. Although we may feel like living on a deserted island, we are social creatures and we need to have relationships. Our lives would be less complicated without them but also empty and useless. I think Phillip realizes this, and, in the end, gets his wife and his life back and all are happy. The play and the film have a similar message—forgiveness. Life is unpredictable at times and we are not God; but we do have the power to make choices—choices that can give our lives deeper meaning and, ultimately, change our lives and the people closest to us for the better.
The film Tempest is a modern-day interpretation of the play, and although it is not an exact replica, there are similarities. One similarity is that Phillip is isolated on an island away from civilization. Unlike Prospero, he wasn't forced against his will to go there; he wanted to. He needs a change, a new perspective on life. The longer he stays away on the island, the more he loses touch with reality. He begins to feel as if he has some supernatural power. Maybe he started to think of himself as God; however, as the storm rages out of control, Kalibanos reminds him, "You not God: only God God". Drama on stage and in film often reflects the drama of everyday life. The ups and downs of life can sometimes make a person question what is really important. Everyone can relate to that at some point in their life. Although we may feel like living on a deserted island, we are social creatures and we need to have relationships. Our lives would be less complicated without them but also empty and useless. I think Phillip realizes this, and, in the end, gets his wife and his life back and all are happy. The play and the film have a similar message—forgiveness. Life is unpredictable at times and we are not God; but we do have the power to make choices—choices that can give our lives deeper meaning and, ultimately, change our lives and the people closest to us for the better.
Revenge and Letting Go, by Charlese Button
Shakespeare’s play The Tempest shows conflict between the main character Prospero and the family and life he once loved. We can see this in his explanation to Miranda: “My brother and thy uncle, called Antonio I pray thee mark me, that a brother should be so perfidious he who next thyself of all the world I loved.” Ever since Antonio, with the help of Alonso, kicked him out of Milan, Prospero had been holding a grudge to get back at them. The rage that he holds in his heart made Caliban a slave and brought misery to all that was around him. He has taken the island from Caliban. Even when Caliban has sworn to Prospero that he will “Show thee the best springs; I’ll pluck thee berries: I’ll fish for thee, and get thee wood enough.” Caliban promises Prospero the utmost hospitality but Prospero doesn’t care. Prospero even tries to control his daughter, but realizes that his control is fading away because of her love for Ferdinand. Prospero kept Miranda and Ferdinand away from each other by giving him some work to do because he wasn’t ready to give Miranda away. He torches everyone on the island for a while, but in the end he lets every hate go and asks for forgiveness.
In the movie Tempest, the character Phillip is faced with some midlife crisis. He isn’t happy with the way his life is and the way it is becoming. His father questions what is going on at home because he had picked up that his son isn’t himself. It isn’t until he meets Aretha when he will find and escape from the reality of his life. Aretha has the answers that make Phillip feel like he could have it all. This is what leads to Phillip having powers. Phillip is a controlling, manipulating person. He come to an island where he controls everyone. Phillip is waiting on his wife Antonia to find him so he could punish her and her lover (his ex-boss) because blamed them for his unhappiness. Phillip’s daughter and Aretha want to leave the island, and try to get Phillip to see the light so that, maybe, he would want to leave as well. Phillip doesn’t want to go home until he see his wife Antonia again and is reunited with her. At that point, he says his apology and then asks for forgiveness.
In the movie Tempest, the character Phillip is faced with some midlife crisis. He isn’t happy with the way his life is and the way it is becoming. His father questions what is going on at home because he had picked up that his son isn’t himself. It isn’t until he meets Aretha when he will find and escape from the reality of his life. Aretha has the answers that make Phillip feel like he could have it all. This is what leads to Phillip having powers. Phillip is a controlling, manipulating person. He come to an island where he controls everyone. Phillip is waiting on his wife Antonia to find him so he could punish her and her lover (his ex-boss) because blamed them for his unhappiness. Phillip’s daughter and Aretha want to leave the island, and try to get Phillip to see the light so that, maybe, he would want to leave as well. Phillip doesn’t want to go home until he see his wife Antonia again and is reunited with her. At that point, he says his apology and then asks for forgiveness.
Thursday, August 12, 2010
Themes in The Tempest by JeAntae Burnett
The main themes in both the movie and play Tempest are: Prospero’s Magical Powers, the Storm (Tempest), Appearance vs. Reality, Class Distinction, and finally Redemption. Some dramatic values are more stressed than others depending on which Tempest you are referring to. This is because interpretation has been used in the film. Instead of the original work being thrown into “just another movie,” the director analyzed the play from his own perspective for an American audience by somewhat spoon-feeding them with various elements of setting, tone, and language.
For example, the drama of Mazurky’s Tempest begins in media res, or the middle of the story. That’s fairly different than the actual Shakespearian play, which began when Prospero’s magic caused a storm to fiercely bellow. The mariners are frightened with fear (Act 1 Scene 1): “Mercy on us ! - We split, We split !” Shakespeare (and Prospero) want us to feel that many of the crew members were lost in wreck of the ship (Appearance vs. Reality). However, in the film, we see the island with “Prospero” (Philip) and his family on it, but we do not find out who the shipmates are until later, and if they are even still living.
The drama in Class Distinction is also very obvious. In the play, we know that Prospero is the rightful Duke of Milan, and his brother Antonio is the usurping Duke of that same city. The lesser people are subjects such as Caliban, Stephano, Trinculo, Miranda, and Ariel. These individuals are the underclass and must listen to their leaders. I believe that the point Shakespeare was giving was that humans operate within social structures. As long as we live, there will always be an upper and lower class. There will never be an equalizer that makes the status between the two classes the same. The upper class is the leader. They have more money, which allows more opportunity to do what they want. This point is also evident within the film, when both Aretha and Miranda agree that they’re “not living life.” Philip, who had the upper hand in the matter, had the “say-so.” He had the power. This also applies to the household. The father usually “runs” the household, and everything that he says MUST go.
A power like this will easily get to a man’s head. Sometimes they feel as if they’re doing everything right and they can control what happens in life, forgetting about the others around them molding themselves into selfish gods. Philip and Prospero are Megalomaniacs. “You not God, Only God God.” Kalibanos told this to Philip after Philip lost control of the tempest. This is a message letting the audience know that we cannot directly control what happens naturally as humans.
Mazurky tells a compelling tale to the audience. People can actually learn a lesson from watching, especially because of how the film ended.
In the end, redemption helps the selfish main character find out what it’s really like to live through forgiving others. This is a successful interpretation because Prospero also had to do the same, which was the highlight of both play and film. He gave up his angry spirit; although his brother took his crown, and even after he sought revenge through the tempest, he eventually had to make his heart clean, as he states in the last Act:
Sir, I invite your highness and your train
To my poor cell, where you shall take your rest
For this one night; which, part of it, I'll waste
With such discourse as I not doubt shall make it
Go quick away: the story of my life
And the particular accidents gone by
Since I came to this isle. And in the morn
I'll bring you to your ship, and so to Naples,
Where I have hope to see the nuptial
Of these our dear-belovèd solemnized;
And thence retire me to my Milan, where
Every third thought shall be my grave.
For example, the drama of Mazurky’s Tempest begins in media res, or the middle of the story. That’s fairly different than the actual Shakespearian play, which began when Prospero’s magic caused a storm to fiercely bellow. The mariners are frightened with fear (Act 1 Scene 1): “Mercy on us ! - We split, We split !” Shakespeare (and Prospero) want us to feel that many of the crew members were lost in wreck of the ship (Appearance vs. Reality). However, in the film, we see the island with “Prospero” (Philip) and his family on it, but we do not find out who the shipmates are until later, and if they are even still living.
The drama in Class Distinction is also very obvious. In the play, we know that Prospero is the rightful Duke of Milan, and his brother Antonio is the usurping Duke of that same city. The lesser people are subjects such as Caliban, Stephano, Trinculo, Miranda, and Ariel. These individuals are the underclass and must listen to their leaders. I believe that the point Shakespeare was giving was that humans operate within social structures. As long as we live, there will always be an upper and lower class. There will never be an equalizer that makes the status between the two classes the same. The upper class is the leader. They have more money, which allows more opportunity to do what they want. This point is also evident within the film, when both Aretha and Miranda agree that they’re “not living life.” Philip, who had the upper hand in the matter, had the “say-so.” He had the power. This also applies to the household. The father usually “runs” the household, and everything that he says MUST go.
A power like this will easily get to a man’s head. Sometimes they feel as if they’re doing everything right and they can control what happens in life, forgetting about the others around them molding themselves into selfish gods. Philip and Prospero are Megalomaniacs. “You not God, Only God God.” Kalibanos told this to Philip after Philip lost control of the tempest. This is a message letting the audience know that we cannot directly control what happens naturally as humans.
Mazurky tells a compelling tale to the audience. People can actually learn a lesson from watching, especially because of how the film ended.
In the end, redemption helps the selfish main character find out what it’s really like to live through forgiving others. This is a successful interpretation because Prospero also had to do the same, which was the highlight of both play and film. He gave up his angry spirit; although his brother took his crown, and even after he sought revenge through the tempest, he eventually had to make his heart clean, as he states in the last Act:
Sir, I invite your highness and your train
To my poor cell, where you shall take your rest
For this one night; which, part of it, I'll waste
With such discourse as I not doubt shall make it
Go quick away: the story of my life
And the particular accidents gone by
Since I came to this isle. And in the morn
I'll bring you to your ship, and so to Naples,
Where I have hope to see the nuptial
Of these our dear-belovèd solemnized;
And thence retire me to my Milan, where
Every third thought shall be my grave.
Wrongs Righted and the Restoration of Order by C. Blane
Shakespeare’s Tempest is much more than a romance; it is really a play about injuries being righted and actions taken to restore the “proper” order of things. Additionally, this play illustrates a largely political premise that the order of society is based upon right, personage, and priority. The Tempest boils down to the age old conflict of good vs. evil, and traces the path of Prospero, beginning with his first mistakes as duke of Milan and the consequences thereof. Prospero’s path becomes a journey of discovery as he learns to discover the “natural order of things”. The established order is challenged by the various characters in the play as people continually step out of line (including his own negligence while Duke of Milan). Part of Shakespeare’s theme is to show the progressive road which rebellion leads to.”
Prospero’s first mistake was to allow his brother to rule his dukedom, as he was “thus neglecting worldly ends, all dedicated to closeness and the bettering of [his] mind” (The Tempest, Act 1, Scene 2, lines 89-90). This was neglecting the natural order of things by neglecting his rule. His later mistake, trying to raise the “fish-like” creature Caliban to an order above his natural state, also nearly proved disastrous when Caliban tried to rape Prospero’s daughter. Prospero orchestrates the storm to bring his false brother and company to his island to begin restoring the “natural order of things”. The play consummates with a restoration of order as Prospero receives his dukedom and Caliban receives back his island, and even Ariel is given her freedom as the airy spirit. As the other characters fall back into place, the reader sees that peace and harmony are dependent on each individual and character performing their duty and function. A bigger realization is that Prospero recognizes his errors and resolves to assume his own role in the “natural order” that of being the Duke of Milan.
In the film, Philip (the Prospero character) is on a quest to discover his “place in society”. He is unhappy where he is as a famous architect, but he does not know what he wants from life. While he lives on the island, he explores the natural forces of the universe and gains an amount of control over them. However, the fact that the storm became out of control and he had to rescue his ex-wife and former boss from the sea, seems to indicate that he was trying to become more than he was “supposed” to be. Perhaps, he was tampering with things of nature that were above his proper realm of influence in the “order of things,” and so he partially lost control of the elements. Aretha and his daughter Miranda are clearly unhappy being shut off from society, and the film’s director, Paul Mazursky, suggests there is an element of danger when living with a man who is living as a “rule unto himself”. The film ended with Philip recognizing his (and mankind’s) basic need for civilization and his return to New York. When he was separated from accountability, he rose up and tampered with the natural elements attempting to “play god”. This need for accountability is basic to mankind, and Philip coming to grips with that reality is what brings him back in touch with reality.
Prospero’s first mistake was to allow his brother to rule his dukedom, as he was “thus neglecting worldly ends, all dedicated to closeness and the bettering of [his] mind” (The Tempest, Act 1, Scene 2, lines 89-90). This was neglecting the natural order of things by neglecting his rule. His later mistake, trying to raise the “fish-like” creature Caliban to an order above his natural state, also nearly proved disastrous when Caliban tried to rape Prospero’s daughter. Prospero orchestrates the storm to bring his false brother and company to his island to begin restoring the “natural order of things”. The play consummates with a restoration of order as Prospero receives his dukedom and Caliban receives back his island, and even Ariel is given her freedom as the airy spirit. As the other characters fall back into place, the reader sees that peace and harmony are dependent on each individual and character performing their duty and function. A bigger realization is that Prospero recognizes his errors and resolves to assume his own role in the “natural order” that of being the Duke of Milan.
In the film, Philip (the Prospero character) is on a quest to discover his “place in society”. He is unhappy where he is as a famous architect, but he does not know what he wants from life. While he lives on the island, he explores the natural forces of the universe and gains an amount of control over them. However, the fact that the storm became out of control and he had to rescue his ex-wife and former boss from the sea, seems to indicate that he was trying to become more than he was “supposed” to be. Perhaps, he was tampering with things of nature that were above his proper realm of influence in the “order of things,” and so he partially lost control of the elements. Aretha and his daughter Miranda are clearly unhappy being shut off from society, and the film’s director, Paul Mazursky, suggests there is an element of danger when living with a man who is living as a “rule unto himself”. The film ended with Philip recognizing his (and mankind’s) basic need for civilization and his return to New York. When he was separated from accountability, he rose up and tampered with the natural elements attempting to “play god”. This need for accountability is basic to mankind, and Philip coming to grips with that reality is what brings him back in touch with reality.
Mazursky's Interpretation of Shakespeare by Taylor Boone
The drama of Shakespeare’s Tempest is throughout the entire play. Miranda and Prospero have been pushed out to sea by Prospero’s brother Antonio and by Alonso, the king of Naples, and this is what starts the drama. Then the drama continues as Prospero uses his magic to lure Alonso and Antonio to the island and destroy their ship. The drama continues when Miranda and Alonso’s son Ferdinand fall in love. The drama is then ended by Prospero, who confronts Antonio and Alonso, demands his reign back, and then forgives the traitors. He then returns to Milan triumphantly. Shakespeare presents the experience of greed. All Prospero was concerned about was returning to Milan and being the ruler again. He used his magic to get exactly what he wanted. He didn’t care who he hurt along the way. His brother had taken his leadership from him, so Prospero then used his magic to get his reign back. Both of the brothers were greedy in that all they were concerned about was their reign.
The drama in Mazursky’s Tempest is more on the romance end of the spectrum. The movie begins with romantic drama, and that drama is continued throughout the entire movie, and is truly the focal point of the film. Phillip is going through a mid-life crisis and leaves his wife, moves to an abandoned island, and meets a new lover, Aretha. He seemed happy with Aretha until an unexpected twist occurs. His ex-wife and her lover appear on the same abandoned island after a shipwreck.
Mazursky’s film shows a love triangle. He shows the intense, crazy relationship between a father and daughter. He also shows a mid-life crisis and how it affects those around Phillip. Mazursky made the play very modern in a way, and he made it very relatable. Aretha was compelled to make Phillip love her and commit to her in the serious way she wanted. I also think that Phillip was compelled to make himself happy and to do whatever he wanted, not what people wanted of him. I also think Miranda was compelled to be herself. She didn’t want to be told what to do and she was very independent in her manner.
I think Mazursky’s interpretation of the play was wonderful. It was successful because he managed to take Shakespeare and turn it into a modern drama. The film portrayed the play well and he switched the drama focus up a little, which made it more interesting. He did a good ob of keeping the dramatic theme throughout the entire movie so it was easy to stay focused. Mazursky made the drama with Phillip very funny, but at the same time a huge deal throughout the movie. From his mid-life crisis to his love triangle, the drama with Phillip really made the plot of the movie.
The drama in Mazursky’s Tempest is more on the romance end of the spectrum. The movie begins with romantic drama, and that drama is continued throughout the entire movie, and is truly the focal point of the film. Phillip is going through a mid-life crisis and leaves his wife, moves to an abandoned island, and meets a new lover, Aretha. He seemed happy with Aretha until an unexpected twist occurs. His ex-wife and her lover appear on the same abandoned island after a shipwreck.
Mazursky’s film shows a love triangle. He shows the intense, crazy relationship between a father and daughter. He also shows a mid-life crisis and how it affects those around Phillip. Mazursky made the play very modern in a way, and he made it very relatable. Aretha was compelled to make Phillip love her and commit to her in the serious way she wanted. I also think that Phillip was compelled to make himself happy and to do whatever he wanted, not what people wanted of him. I also think Miranda was compelled to be herself. She didn’t want to be told what to do and she was very independent in her manner.
I think Mazursky’s interpretation of the play was wonderful. It was successful because he managed to take Shakespeare and turn it into a modern drama. The film portrayed the play well and he switched the drama focus up a little, which made it more interesting. He did a good ob of keeping the dramatic theme throughout the entire movie so it was easy to stay focused. Mazursky made the drama with Phillip very funny, but at the same time a huge deal throughout the movie. From his mid-life crisis to his love triangle, the drama with Phillip really made the plot of the movie.
Wednesday, August 11, 2010
The Island by Kirsten Bjorn
Paul Mazursky’s 1982 film Tempest, based William Shakespeare’s The Tempest, tells of a man, Phillip, who flees the island of chaotic Manhattan to an unpopulated island off of the coast of Greece. Along with his youthful daughter Miranda, they run to this island to escape from the harsh realities of the real world. To Phillip, the island is his escape—not necessarily for freedom, but from his life. It seems as though he is having a mid-life crisis, and he is separating from his wife. Miranda chooses to leave with her father to escape from her mother, who is friendly with another man (who happens to be Phillip’s old, as in age and as in until most recently, boss).
As they leave the hustle and bustle of Manhattan, they find what they think is paradise, where Phillip believes that “this is the only place you can learn how to do things (the old fashioned way).” A woman named Aretha also accompanies Phillip and Miranda on the island as Phillip’s female friend and mother figure to Miranda. But even though they grow to love the island, paradise turns out to be more of a prison for Miranda and Aretha. Besides their servant Kalibanos, they are the only people on the island and havie no connection to the outside world. Miranda is a young teenager longing for experience with boys, shopping trips, and new music and movies. Phillip thinks he’s doing right by running away from his problems, but in the end they inevitably keep finding him (his wife and former boss locate him on the island).
Shakespeare’s Prospero was forced, along with his daughter, out of Milan to a magical island. Alonso, King of Naples, helped Prospero’s brother Antonio, oust Prospero from his position as King of Milan so he could take his brother’s throne. Prospero encounters Ariel, who becomes his air-spirit, and Caliban, whose mother once ruled the island until she died and Prospero made Caliban his slave. Prospero wants revenge for being put on this island, and he creates a storm using the magical powers he developed during his 12-year exile on the island. Despite Prospero’s anger toward his brother and Alonso, he is consumed with the only thing he has: his daughter Miranda. He is able to watch her grow from just a young girl to young lady, and he watches her suddenly becoming interested in men, such as Fernando.
Prospero was unwillingly forced to go to the island, but Phillip went voluntarily and enjoyed his freedom from the daily routine. Prospero never thought of the island as paradise, but rather as a prison. He was put there against his wishes. Phillip (not Miranda and Athena) loved calling the island home “paradise.” As Phillip’s wife Antonia stumbles upon him on the island, he finally realizes that his only true paradise is with his wife and daughter. Family is paradise.
As they leave the hustle and bustle of Manhattan, they find what they think is paradise, where Phillip believes that “this is the only place you can learn how to do things (the old fashioned way).” A woman named Aretha also accompanies Phillip and Miranda on the island as Phillip’s female friend and mother figure to Miranda. But even though they grow to love the island, paradise turns out to be more of a prison for Miranda and Aretha. Besides their servant Kalibanos, they are the only people on the island and havie no connection to the outside world. Miranda is a young teenager longing for experience with boys, shopping trips, and new music and movies. Phillip thinks he’s doing right by running away from his problems, but in the end they inevitably keep finding him (his wife and former boss locate him on the island).
Shakespeare’s Prospero was forced, along with his daughter, out of Milan to a magical island. Alonso, King of Naples, helped Prospero’s brother Antonio, oust Prospero from his position as King of Milan so he could take his brother’s throne. Prospero encounters Ariel, who becomes his air-spirit, and Caliban, whose mother once ruled the island until she died and Prospero made Caliban his slave. Prospero wants revenge for being put on this island, and he creates a storm using the magical powers he developed during his 12-year exile on the island. Despite Prospero’s anger toward his brother and Alonso, he is consumed with the only thing he has: his daughter Miranda. He is able to watch her grow from just a young girl to young lady, and he watches her suddenly becoming interested in men, such as Fernando.
Prospero was unwillingly forced to go to the island, but Phillip went voluntarily and enjoyed his freedom from the daily routine. Prospero never thought of the island as paradise, but rather as a prison. He was put there against his wishes. Phillip (not Miranda and Athena) loved calling the island home “paradise.” As Phillip’s wife Antonia stumbles upon him on the island, he finally realizes that his only true paradise is with his wife and daughter. Family is paradise.
New and Old Portrayals of The Tempest by Kayley Bitzer
Shakespeare’s The Tempest is a play that is believed to have been written in 1610. This play tells the story of how Prospero loses his right to be the duke of Milan. Prospero, being the protagonist in this play, sets the tone and creates many problems for quite a few people. The first scene opens with a terrible shipwreck that Prospero created to get his enemies onto the island where he has been banished. Immediately there is drama in the play; a “problem” arises. Prospero is ruthless when it comes to caring about other people; for example, he holds Ariel prisoner so he can carry out his magical plans. This play has the feel of a drama, and there are many situations where people feel tension (e.g. the possibility that Prospero and Antonio might clash with each other). Antonio took Prospero’s throne and banished him and Miranda to the island. Shakespeare wrote this play hoping to challenge the audiences senses, making them ask themselves “what is man?” and “why is man so revengeful?” Shakespeare also makes his audience aware of tragedy in the play; people can relate to tragedy because most everyone has dealt with some form of misfortune. Ariel tells Prospero that he should feel sorry for his prisoners, “Your charm so strongly works ‘em that if you now beheld them, your affections would become tender” (Act 5 scene 1 line 18).
Mazursky tells the tale of The Tempest through film, and with his own modern twist. The film is set on a remote island in Greece and the only people that are there are Phillip, Aretha, Miranda and Kalibanos. Phillip is going crazy and needs to escape from the reality that is haunting him. Unlike Prospero, Phillip wants to be on this island and he makes a home out of it; he becomes a bit of a megalomaniac. He starts to believe his own ideas, such as when he “conjures” the storm he always says, “show me the magic!” Even Kalibanos starts to believe Phillip’s ideas, throughout the entire movie he calls Phillip a “god” or “boss.” Aretha is the airy spirit who reminds Phillip of the joys of life. Everything is going great on their island until the girls start to get bored and feel imprisoned. Miranda talks about how she wishes she was at a Go Go’s concert smoking pot. Any teenager who watches this movie can relate to her because we all know how it feels to be “trapped” by our parents, which is exactly what Miranda is; her father will not leave the island for any reason. I think that Mazursky did a fair job of interpreting the tale of the Tempest. He related the audience by adding comedy and romance to the story. I found myself mad when the movie ended because Phillip ended up with his wife again and not Aretha. All they said to each other was “I’m sorry” and they were back together again! It just seemed too farfetched to me; but some do say “love conquers all.”
A Short Summary of The Tempest and Tempest by Chelsea Benson
Alonzo, Ferdinand, Antonio, Gonzalo, Stephano, and Trinculo are sailing back from a wedding when a violent storm strikes. The royal party is thrown overboard and they wash up on a remote island ruled by Prospero, the brother of Antonio, who lives there with no one else except for his daughter, Miranda, and his slave Caliban. About twelve years earlier, Prospero used to be the Duke of Milan, but his brother, Antonio, and the King, Alonzo, conspired against him to take his title from him and banish him to the island. Capable of using magic, Prospero summoned the tempest to bring the ships passengers to the island so that he could have his revenge.
First, Ferdinand meets Miranda, with whom he falls deeply in love. Then Sebastian and Antonio hatch a plot to murder the king so that Sebastian could take the throne. Third, Stephano and Trinculo discover Caliban. The slave convinces the two of them to help him murder Prospero, but Ariel prevents them from doing it by distracting them with song.
At the end of the play, Prospero gathers them all in front of him and tells them why they were brought to the island. He verbally reprimands them, and then turns around and instantly forgives them. Finally, they are all sent back home and Prospero sets Ariel free. The end.
The movie Tempest follows a very similar plot. Phillip Dimitrius is a successful business man, but when his mid-life crisis hits and his wife begins cheating on him with his boss, he decides it's time to leave it all behind for the remote and peaceful islands of Greece with his daughter, Miranda, and new girlfriend, Aretha. After a year of toiling on the primitive island, the girls are ready to pack up and return to civilization, but Phillip insists that staying is the best thing for all of them.
One day, Kalibanos, a primitive co-inhabitant of the island, spots a boat approaching the island. On further inspection, Phillip discovers that his ex-wife, boss, and many of his co-workers were on the boat. A storm shipwrecks them, so he and Aretha have to save them from drowning. While Phillip is attempting to come to grips with his past, his daughter has found her first romance with the boss’s son, Freddy. Eventually, Phillip reaches forgiveness and they all leave the island and part ways.
Forgiveness is an important theme in both the play and the movie. Prospero and Phillip both were holding grudges against the people who did them wrong. The difference is that Prospero admitted that it was revenge and Phillip pretended that he didn't care about what had happened. He tells Antonia, his cheating wife, that he hasn't given her a lot of thought, but judging from his behavior on the island and his celibacy we can assume that it had more of an impact on him than he is admitting. Both Prospero and Phillip forgive everyone in the end, but first each does their best to make the offending parties feels as guilty as he can make them feel. Considering Phillip did not have as much control of the situation as Prospero did, it is understandable that he did not evoke as much guilt as the magician, but in the end both of them reached the same sense of peace. In order for them to have reached this peaceful state, they had to forgive and let go of their grudges.
First, Ferdinand meets Miranda, with whom he falls deeply in love. Then Sebastian and Antonio hatch a plot to murder the king so that Sebastian could take the throne. Third, Stephano and Trinculo discover Caliban. The slave convinces the two of them to help him murder Prospero, but Ariel prevents them from doing it by distracting them with song.
At the end of the play, Prospero gathers them all in front of him and tells them why they were brought to the island. He verbally reprimands them, and then turns around and instantly forgives them. Finally, they are all sent back home and Prospero sets Ariel free. The end.
The movie Tempest follows a very similar plot. Phillip Dimitrius is a successful business man, but when his mid-life crisis hits and his wife begins cheating on him with his boss, he decides it's time to leave it all behind for the remote and peaceful islands of Greece with his daughter, Miranda, and new girlfriend, Aretha. After a year of toiling on the primitive island, the girls are ready to pack up and return to civilization, but Phillip insists that staying is the best thing for all of them.
One day, Kalibanos, a primitive co-inhabitant of the island, spots a boat approaching the island. On further inspection, Phillip discovers that his ex-wife, boss, and many of his co-workers were on the boat. A storm shipwrecks them, so he and Aretha have to save them from drowning. While Phillip is attempting to come to grips with his past, his daughter has found her first romance with the boss’s son, Freddy. Eventually, Phillip reaches forgiveness and they all leave the island and part ways.
Forgiveness is an important theme in both the play and the movie. Prospero and Phillip both were holding grudges against the people who did them wrong. The difference is that Prospero admitted that it was revenge and Phillip pretended that he didn't care about what had happened. He tells Antonia, his cheating wife, that he hasn't given her a lot of thought, but judging from his behavior on the island and his celibacy we can assume that it had more of an impact on him than he is admitting. Both Prospero and Phillip forgive everyone in the end, but first each does their best to make the offending parties feels as guilty as he can make them feel. Considering Phillip did not have as much control of the situation as Prospero did, it is understandable that he did not evoke as much guilt as the magician, but in the end both of them reached the same sense of peace. In order for them to have reached this peaceful state, they had to forgive and let go of their grudges.
Wednesday, July 28, 2010
Everyone's Looking for Answers
So say a couple of characters in O Brother, Where Art Thou? I asked the class to do a little research on a topic from the film--not necessarily a theme, but something that is part of the plot or setting or zeitgeist of the Depression Era. Something that makes this particular film work. Several focused on music--gospel, blues or bluegrass--while others focused on con men or the women in the Depression or stereotypes of the South. In 800 words, they present information on their topic, discuss its presence and significance in the film, and, finally, try to connect it all up with The Odyssey. The posts below are the work of various students in the class.
Mississippi and Southern Stereotyping
Sidney Walker wrote:
Mississippi is a U.S. state located in the southern United States. Mississippi was the 20th state admitted to the Union on December 20, 1817. When Mississippi became a state its economy was primarily agricultural until after the Depression of the 1930s. Cotton was king, and Mississippi had large agricultural plantations. Meanwhile, the Mississippi plantation owners became wealthy because of cotton and their large ownership of African-American slaves. In Mississippi during the 1850s there were almost 800.000 African-Americans with fewer than 1,000 of them free. The African-American slave laborers had to work the land from sun-up to sun-down. Also during the 1800s, there were many small rural white-owned farms throughout Mississippi. The rural white farm owners had large families to work the land. Furthermore, the African-American slave laborers and the rural white farm families were uneducated with virtually no skills for upward mobility. In addition, there was a severe wealth imbalance between the white plantation owners and the rural white farm owners. Even though the above information is focused on Mississippi, the same can be said about almost all southern states during this period of time.
Today Mississippi has the lowest per capita income in the nation. The South, as a region, has 8 of the 11 lowest per capita income states. In 2007, the US Census Bureau indicated Mississippi was the poorest state in the country. In 2007, Mississippi’s median household income was $36,338, which was $31,372 below Maryland, which was the wealthiest state. In 2008 Mississippi was ranked last in academic achievement among the fifty states. Meanwhile, in 2007, Mississippi students scored the lowest of any state on the National Assessments of Educational Progress in both math and science. The southern states’ secondary education systems continually rank at the bottom nationally. These low academic achievements and low income levels in Mississippi (and most other states in the South) contribute to negative stereotypes applied to all southern states. The most prevalent types of stereotyping are racial and ethnic, sexual, and gender. In the 1800s the most common stereotyping in our country was depicting African-Americans as dumb, lazy, poor, and uncivilized. The original colonists believed that African-Americans were inferior to white people. This helped to justify slavery and the many laws that were put in place that condoned inhumane treatment to keep African-Americans in a lower socioeconomic position.
Southerners are depicted as lazy, racist, uneducated, and bigoted. These kinds of southern stereotypes are perpetuated by Hollywood, media, and academia. While growing up in the South, I went to segregated public middle class schools and never saw other students as lazy and uneducated, but there were regions in the South, such as small rural towns, farming areas, and African-American communities, that I never came in contact with, so I had no perception of these peoples’ lives and experiences. In fact, the people living in some of these areas are sometimes referred to as “Rednecks.” Redneck is a derogatory slang term used to depict poor white southerners. Redneck men consider their women helpless, subservient, and stupid. Today the term Redneck is also used to depict people who are opposed to modern ways such as southern conservatives and segregationists. George Wallace (Alabama governor), Jesse Helms (U.S. senator North Carolina), and Strom Thurmond (U.S. senator South Carolina) were bigots and racists during their early political careers, but changed their outlook as the racial tone changed in the country. Strom Thurmond had an African-American daughter. Despite their change in outlook, they are nevertheless still known as “typical Southern white bigots.” The South has always been a place where “white privilege” was important. While my father was an alcoholic, he never was arrested for driving under the influence because he knew the mayor, the judges, the police chief and most of the police officers. He was immune to a DUI because of the “good ole boy” system.
The South has traditionally been characterized as racist, due in large part to segregation. On May 17, 1954, the United States Supreme Court in Brown versus Board of Education of Topeka declared unanimously (9-0) that state laws establishing separate public schools for African-American and white students and denying African-American children equal educational opportunities were unconstitutional. During the 1960s several major public universities in the South (University of Mississippi and University of Alabama) were racially integrated through the use of force by the federal government. The first two public universities in our country were the University of North Carolina (1789) and the University of Georgia (1801) but they did not become truly public until the 1950s/1960s when racial integration was ordered by the federal courts. By 1961, only South Carolina, Alabama, and Mississippi still maintained completely segregated school systems even though the U.S. Supreme Court had declared this unconstitutional in 1954. These three states school systems were successfully integrated by 1970. The National Voting Rights Act of 1965 outlawed discriminatory voting practices that had been responsible for the widespread disenfranchisement of African-Americans. This law requires Mississippi, along with many other southern states, to get approval from the U.S. Department of Justice for any change affecting voting, a process known as preclearance.
Despite the negative southern stereotype of racism, the first state to elect an African-American governor was the southern state of Virginia in 1989. Many southerners are depicted as undereducated, but three of the last six U.S. presidents—Jimmy Carter, Bill Clinton, and George W. Bush—were from the South. They graduated from the U.S. Naval Academy, Georgetown University, and Yale University, respectively. In fact, Bill Clinton was a Rhodes Scholar. Stereotyping can lead to prejudice and bigotry and, if left unchecked, can lead to discrimination, violence, and in extreme cases to genocide. During World War II genocide by the German government led to the death of approximately six million Jews.
Discussion of the Topic in Film/Movie
In the South, a Redneck man views a woman as dumb. In contrast to the Redneck male’s view of a woman, the main female character, Penny, in “O Brother, Where Art Thou?” is quite crafty and smart in finding herself another man to support her while her husband, Everett Ulysses McGill, is away in jail. Unlike the southern stereotypical woman who is often depicted as helpless, Kalypso and Kirke in the Odyssey play a positive role in liberating and educating Odysseus. Athena, the grey-eyed goddess, is always looking after Telemakhos and Odysseus by disguising them at the most opportune time. Athena, Kalypso, and Kirke are all goddesses who are very skilled at getting the job done by any means necessary. These three females are all intelligent and independent. While Odysseus is away on his twenty year adventure, he is the typical married male having sex/making love with Kalypso and Kirke, but Penelope is the faithful wife even though she has many suitors lusting for her status, her money, and her sexual favors. Without a doubt, Odysseus is the stereotypical hero in the Odyssey. He is smart, strong, athletic, cunning, persuasive, good looking, and quick thinking. His escape from the cave by getting the Kyklops, Polyphemos, drunk and shoving a red-hot wooden staff into his eye is an example of Odysseus’ intelligence, quick thinking, and strength. He is the only one of his group of warriors to successfully make the journey home to Ithaka. As usual the hero has a lovely wife, Penelope, who is beautiful and intelligent. The hero always has a happy ending. Homer creates and perpetuates stereotypes in the poem for the purpose of making Greek values seem like they are the best values (the way Southerners have traditionally insisted that “white is right”).
Mississippi is a U.S. state located in the southern United States. Mississippi was the 20th state admitted to the Union on December 20, 1817. When Mississippi became a state its economy was primarily agricultural until after the Depression of the 1930s. Cotton was king, and Mississippi had large agricultural plantations. Meanwhile, the Mississippi plantation owners became wealthy because of cotton and their large ownership of African-American slaves. In Mississippi during the 1850s there were almost 800.000 African-Americans with fewer than 1,000 of them free. The African-American slave laborers had to work the land from sun-up to sun-down. Also during the 1800s, there were many small rural white-owned farms throughout Mississippi. The rural white farm owners had large families to work the land. Furthermore, the African-American slave laborers and the rural white farm families were uneducated with virtually no skills for upward mobility. In addition, there was a severe wealth imbalance between the white plantation owners and the rural white farm owners. Even though the above information is focused on Mississippi, the same can be said about almost all southern states during this period of time.
Today Mississippi has the lowest per capita income in the nation. The South, as a region, has 8 of the 11 lowest per capita income states. In 2007, the US Census Bureau indicated Mississippi was the poorest state in the country. In 2007, Mississippi’s median household income was $36,338, which was $31,372 below Maryland, which was the wealthiest state. In 2008 Mississippi was ranked last in academic achievement among the fifty states. Meanwhile, in 2007, Mississippi students scored the lowest of any state on the National Assessments of Educational Progress in both math and science. The southern states’ secondary education systems continually rank at the bottom nationally. These low academic achievements and low income levels in Mississippi (and most other states in the South) contribute to negative stereotypes applied to all southern states. The most prevalent types of stereotyping are racial and ethnic, sexual, and gender. In the 1800s the most common stereotyping in our country was depicting African-Americans as dumb, lazy, poor, and uncivilized. The original colonists believed that African-Americans were inferior to white people. This helped to justify slavery and the many laws that were put in place that condoned inhumane treatment to keep African-Americans in a lower socioeconomic position.
Southerners are depicted as lazy, racist, uneducated, and bigoted. These kinds of southern stereotypes are perpetuated by Hollywood, media, and academia. While growing up in the South, I went to segregated public middle class schools and never saw other students as lazy and uneducated, but there were regions in the South, such as small rural towns, farming areas, and African-American communities, that I never came in contact with, so I had no perception of these peoples’ lives and experiences. In fact, the people living in some of these areas are sometimes referred to as “Rednecks.” Redneck is a derogatory slang term used to depict poor white southerners. Redneck men consider their women helpless, subservient, and stupid. Today the term Redneck is also used to depict people who are opposed to modern ways such as southern conservatives and segregationists. George Wallace (Alabama governor), Jesse Helms (U.S. senator North Carolina), and Strom Thurmond (U.S. senator South Carolina) were bigots and racists during their early political careers, but changed their outlook as the racial tone changed in the country. Strom Thurmond had an African-American daughter. Despite their change in outlook, they are nevertheless still known as “typical Southern white bigots.” The South has always been a place where “white privilege” was important. While my father was an alcoholic, he never was arrested for driving under the influence because he knew the mayor, the judges, the police chief and most of the police officers. He was immune to a DUI because of the “good ole boy” system.
The South has traditionally been characterized as racist, due in large part to segregation. On May 17, 1954, the United States Supreme Court in Brown versus Board of Education of Topeka declared unanimously (9-0) that state laws establishing separate public schools for African-American and white students and denying African-American children equal educational opportunities were unconstitutional. During the 1960s several major public universities in the South (University of Mississippi and University of Alabama) were racially integrated through the use of force by the federal government. The first two public universities in our country were the University of North Carolina (1789) and the University of Georgia (1801) but they did not become truly public until the 1950s/1960s when racial integration was ordered by the federal courts. By 1961, only South Carolina, Alabama, and Mississippi still maintained completely segregated school systems even though the U.S. Supreme Court had declared this unconstitutional in 1954. These three states school systems were successfully integrated by 1970. The National Voting Rights Act of 1965 outlawed discriminatory voting practices that had been responsible for the widespread disenfranchisement of African-Americans. This law requires Mississippi, along with many other southern states, to get approval from the U.S. Department of Justice for any change affecting voting, a process known as preclearance.
Despite the negative southern stereotype of racism, the first state to elect an African-American governor was the southern state of Virginia in 1989. Many southerners are depicted as undereducated, but three of the last six U.S. presidents—Jimmy Carter, Bill Clinton, and George W. Bush—were from the South. They graduated from the U.S. Naval Academy, Georgetown University, and Yale University, respectively. In fact, Bill Clinton was a Rhodes Scholar. Stereotyping can lead to prejudice and bigotry and, if left unchecked, can lead to discrimination, violence, and in extreme cases to genocide. During World War II genocide by the German government led to the death of approximately six million Jews.
Discussion of the Topic in Film/Movie
Stereotyping disguised as “comic relief” is used throughout “O Brother, Where Art Thou?” to depict the depression era of the 1930s. The stereotypes perpetuated in the movie are said to be from a bygone era, but are they really from the past? As a serious-minded person, it is difficult for me to appreciate this film as a comedy. I don’t like the movie because it makes fun of southerners and the South. The film’s setting is the U.S. state of Mississippi. It begins with a scene where chain-gang prisoners in striped uniforms are doing work in a public area. In a later scene in the movie the chain-gang prisoners are in their striped uniforms taking in a film at the local movie house. Prisoners doing work or at play in public only happens in the South. Another scene shows the Ku Klux Klan in action with a cross, a hangman’s noose, and an African-American which will stir up racism and bigotry in the minds of many movie goers. Meanwhile the film depicts Delmar and Pete as limited minded Rednecks who can only get by with the help of Everett Ulysses McGill, their leader and smart guy. Where else but in the South could you see a religious baptism happening on a river bank as seen in the film. Throughout the movie “ole boy” cronyism is alive and well. This stereotype was invented in the South but it is known as “networking” in the rest of the country.
Connect the Topic, the Film/Movie, and the Odyssey
In the South, a Redneck man views a woman as dumb. In contrast to the Redneck male’s view of a woman, the main female character, Penny, in “O Brother, Where Art Thou?” is quite crafty and smart in finding herself another man to support her while her husband, Everett Ulysses McGill, is away in jail. Unlike the southern stereotypical woman who is often depicted as helpless, Kalypso and Kirke in the Odyssey play a positive role in liberating and educating Odysseus. Athena, the grey-eyed goddess, is always looking after Telemakhos and Odysseus by disguising them at the most opportune time. Athena, Kalypso, and Kirke are all goddesses who are very skilled at getting the job done by any means necessary. These three females are all intelligent and independent. While Odysseus is away on his twenty year adventure, he is the typical married male having sex/making love with Kalypso and Kirke, but Penelope is the faithful wife even though she has many suitors lusting for her status, her money, and her sexual favors. Without a doubt, Odysseus is the stereotypical hero in the Odyssey. He is smart, strong, athletic, cunning, persuasive, good looking, and quick thinking. His escape from the cave by getting the Kyklops, Polyphemos, drunk and shoving a red-hot wooden staff into his eye is an example of Odysseus’ intelligence, quick thinking, and strength. He is the only one of his group of warriors to successfully make the journey home to Ithaka. As usual the hero has a lovely wife, Penelope, who is beautiful and intelligent. The hero always has a happy ending. Homer creates and perpetuates stereotypes in the poem for the purpose of making Greek values seem like they are the best values (the way Southerners have traditionally insisted that “white is right”).
Does Humor Belong in Art?
Matt Hartenstein wrote:
Throughout the ages the exact definition of comedy has evolved greatly. The Greeks and Roman called all plays that had a happy-ending “comedy.” In the Middle Ages, any work that had a happy-ending and an overall lighter tone was deemed a comedy. It was, of course, during this time period that Dante Alighieri wrote his famous La Divinia Commedia, or The Divine Comedy. Finally, as more time passed, comedy has arrived at its current form, any type of work that induces laughter. There are numerous types of comedy as well; one being satire, such as “Harrison Bergeron” by Kurt Vonnegut Jr. In this type of comedic satire, where social criticism is the greater purpose, the “government” weakens everyone through the use of absurd handicaps so no one citizen is better than the other in any way. Another type of comedy is the sketch comedy. Examples of sketch comedy would be Monty Python’s Flying Circus and Saturday Night Live. Sketch comedy is made up of numerous comedic “sketches.” A sketch is different from a skit, where one joke is the center, in that a sketch explores a character, concept, or situation. Another type of comedy, with which almost everyone is familiar, is stand-up comedy. In stand-up comedy, a comedian talks directly to the audience. Examples of stand-up comedians would be Robin Williams, Adam Sandler, etc. Some stand-up comedians use props. When Carrot Top was actually popular and people went to see his shows, he would use props, as would the comedian Gallagher. Another type of physical, or miming, comedy would be clowns. Clowns are known for their costumes, hilarious acting to entertain adults and children alike, and for not speaking. Comedy can be used in numerous ways as well; one way would be to ease the tension in a drama or tragedy. Another use of comedy is to be cerebral and make the reader/audience think. An example of this would be Jonathan Swift’s Modest Proposal, which, superficially, is an essay about how to help the Irish during their economic troubles, but upon further analysis proves to be a scathing essay against the mistreatment of the Irish at English hands. Another use of comedy is to be a form of relief from another element of a story. One example of comedy being used as a relief is in William Shakespeare Othello, with Iago’s gulling of Roderigo to give him all his cash.
Comedy can be very easy to work with, if one is given the right tools and is quick-witted and makes use of the situation; or, it can be hard to work with and may take years to perfect, such as stand-up comedy. It is hard to interlace all the uses and forms of comedy with one another, therefore, most comedians interlace one or two together. Throughout their movie O Brother, Where Art Thou?, the Coen brothers weave satire, situational, comedic relief and elements of the Odyssey into their movie and, overall, achieve success.
Comedy in O Brother, Where Art Thou? is used as a relief for the audience, as a way of portraying the similarities between the Odyssey and the movie, and a way to make the audience think. One example of comedic relief would be when Baby-Face Nelson decides to kill cows while being chased simply because, “[he] hate[s] cows” (O Brother, Where Art Thou?). The Coen brothers placed this comedy in the movie to link to when Odysseus’ men slaughtered Helios’ cows. Another part of the movie that paralleled the Odyssey is the part about “Big” Dan Teague and his cyclopean view; although here the directors decided to go another route and let Ulysses and Delmar receive an “advanced tutorial” on how to make money. Another time when comedy is used to parallel the Odyssey is when the three men stumble upon the “sirens”. Here the women sing and dance, luring them closer and to let their guard down, by pouring a jug of “XXX” alcohol down one of their throats. The sirens are known through mythology as beautiful women who sing and lure ships to their demise. The Coen brothers also wanted to make their audience think with the “FOP” hair gel; fop being a synonym for idiot.
The Coen brothers use comedy as a way of pulling elements from Homer’s Odyssey, and placing them into a format of today’s view that go along with their movie. From the slaughtering of cows by Baby-Face Nelson and the “sirens” that convinced Delmar Pete’s a toad, to Soggy Bottom Boys donning beards and dressing like old men to sneak into the theater to rescue his wife from a “bona fide” suitor. Anyone who’s read a summary of the Odyssey should be able to pick up the parallels between film and poem, and how comedy ties them, loosely, together.
Throughout the ages the exact definition of comedy has evolved greatly. The Greeks and Roman called all plays that had a happy-ending “comedy.” In the Middle Ages, any work that had a happy-ending and an overall lighter tone was deemed a comedy. It was, of course, during this time period that Dante Alighieri wrote his famous La Divinia Commedia, or The Divine Comedy. Finally, as more time passed, comedy has arrived at its current form, any type of work that induces laughter. There are numerous types of comedy as well; one being satire, such as “Harrison Bergeron” by Kurt Vonnegut Jr. In this type of comedic satire, where social criticism is the greater purpose, the “government” weakens everyone through the use of absurd handicaps so no one citizen is better than the other in any way. Another type of comedy is the sketch comedy. Examples of sketch comedy would be Monty Python’s Flying Circus and Saturday Night Live. Sketch comedy is made up of numerous comedic “sketches.” A sketch is different from a skit, where one joke is the center, in that a sketch explores a character, concept, or situation. Another type of comedy, with which almost everyone is familiar, is stand-up comedy. In stand-up comedy, a comedian talks directly to the audience. Examples of stand-up comedians would be Robin Williams, Adam Sandler, etc. Some stand-up comedians use props. When Carrot Top was actually popular and people went to see his shows, he would use props, as would the comedian Gallagher. Another type of physical, or miming, comedy would be clowns. Clowns are known for their costumes, hilarious acting to entertain adults and children alike, and for not speaking. Comedy can be used in numerous ways as well; one way would be to ease the tension in a drama or tragedy. Another use of comedy is to be cerebral and make the reader/audience think. An example of this would be Jonathan Swift’s Modest Proposal, which, superficially, is an essay about how to help the Irish during their economic troubles, but upon further analysis proves to be a scathing essay against the mistreatment of the Irish at English hands. Another use of comedy is to be a form of relief from another element of a story. One example of comedy being used as a relief is in William Shakespeare Othello, with Iago’s gulling of Roderigo to give him all his cash.
Comedy can be very easy to work with, if one is given the right tools and is quick-witted and makes use of the situation; or, it can be hard to work with and may take years to perfect, such as stand-up comedy. It is hard to interlace all the uses and forms of comedy with one another, therefore, most comedians interlace one or two together. Throughout their movie O Brother, Where Art Thou?, the Coen brothers weave satire, situational, comedic relief and elements of the Odyssey into their movie and, overall, achieve success.
Comedy in O Brother, Where Art Thou? is used as a relief for the audience, as a way of portraying the similarities between the Odyssey and the movie, and a way to make the audience think. One example of comedic relief would be when Baby-Face Nelson decides to kill cows while being chased simply because, “[he] hate[s] cows” (O Brother, Where Art Thou?). The Coen brothers placed this comedy in the movie to link to when Odysseus’ men slaughtered Helios’ cows. Another part of the movie that paralleled the Odyssey is the part about “Big” Dan Teague and his cyclopean view; although here the directors decided to go another route and let Ulysses and Delmar receive an “advanced tutorial” on how to make money. Another time when comedy is used to parallel the Odyssey is when the three men stumble upon the “sirens”. Here the women sing and dance, luring them closer and to let their guard down, by pouring a jug of “XXX” alcohol down one of their throats. The sirens are known through mythology as beautiful women who sing and lure ships to their demise. The Coen brothers also wanted to make their audience think with the “FOP” hair gel; fop being a synonym for idiot.
The Coen brothers use comedy as a way of pulling elements from Homer’s Odyssey, and placing them into a format of today’s view that go along with their movie. From the slaughtering of cows by Baby-Face Nelson and the “sirens” that convinced Delmar Pete’s a toad, to Soggy Bottom Boys donning beards and dressing like old men to sneak into the theater to rescue his wife from a “bona fide” suitor. Anyone who’s read a summary of the Odyssey should be able to pick up the parallels between film and poem, and how comedy ties them, loosely, together.
Race and Gender Oppression in the Old South
Kayley Bitzer wrote:
The old South could be described as a time of happiness, success and hospitality it had the look of greatness too: large white houses with big yards and happy families, literate people and an established economy that was based on cotton. Looks can be deceiving though; the old South was actually a time and place of hatred. Slaves and the KKK are prime examples of this hatred. Slaves were present during most of the existence of the old South; they did industrial and agricultural work. Slave owners demoralized their slaves; they had no rights what so ever, the women were forced into having sexual relations with their masters on a regular basis, and many mulatto babies were born due to this. Resistance to the sexual advances from the master ended up in beatings. The KKK, often known as a “hate group,” was another group of people who discriminated against black people: they advocated white supremacy and nationalism. The first group originated in the early 1860’s and had 550,000 members, this “first clan” ended in the late 1870’s. Their costumes were iconic: all white robes, masks and a conical hat. Their activities included hanging or lynching ofNegros , preaching about racism, anti-Catholicism, burning of the cross, burning black people’s houses and attacking them then leaving their dead bodies on the streets. Sometimes the KKK claimed to be ghosts of the Confederate soldiers to scare superstitious Negros . In some states, members of the KKK were politicians and often the KKK was used as a political force,(www.wikipedia.org). Even the women of the old South seemed to live the life of a slave also. The role of women confined by patriarchal society; even as a child a woman needed to follow the rules of her father. They must go to school every day, although the fathers cared about the sons’ education more than he cared about the daughters’. Young southern belles were supposed to be well educated in manners and etiquette: their goal in life was to find an acceptable suitor that would take care of them after it was no longer the father’s duty. Who a woman chose to marry signified who she was in society; it also has a reflection on her father and who he is in society. Once a woman was married, the husband controlled every part of her life; she was just a piece of furniture, basically, who was meant to reproduce so the man could carry on his name through an heir. Men ruled over the women just to make sure that their name in society was not frowned upon due to a woman’s actions (www.mgagnon.myweb.uga.edu).
O Brother, Where Art Thou? is a movie that takes place in the old South and portrays the trials and tribulations that took place during this time. The first scene in the movie shows a black chain gang breaking up big rocks into little rocks used to pave the railroad, and then it shows three of the men from the chain gang escaping and running through the fields to get away. After these three men escape safely, we see they are the three main characters of the movie, Ulysses, Delmar and Pete. These three men find ways to become “brothers” with black men. They receive their prophecy from a black man, they help save Tommy and they have served time in jail just like a black man. The Grand Wizard of the KKK is running in the election for governor ofMississippi
Homer’s Odyssey and O Brother, Where Art Thou? have many similarities such as ancient Greece appeared to be a paradise when it really was not. The old South appeared to be pleasant, but it was full of hate. Everyone from the slaves in the old South to Ulysses and Odysseus all have a common goal: getting back home to their families. Odysseus is held captive by Kalypso and Kirke just like a slave, but he outsmarts them, kind of like how Ulysses, Delmar and Pete outsmart the KKK to save Tommy. Penny and Penelope both ultimately stay true to their husbands while they are gone on their journeys. Women in the old South had no choice but to stay true to their husbands because they controlled every move they made.
The old South could be described as a time of happiness, success and hospitality it had the look of greatness too: large white houses with big yards and happy families, literate people and an established economy that was based on cotton. Looks can be deceiving though; the old South was actually a time and place of hatred. Slaves and the KKK are prime examples of this hatred. Slaves were present during most of the existence of the old South; they did industrial and agricultural work. Slave owners demoralized their slaves; they had no rights what so ever, the women were forced into having sexual relations with their masters on a regular basis, and many mulatto babies were born due to this. Resistance to the sexual advances from the master ended up in beatings. The KKK, often known as a “hate group,” was another group of people who discriminated against black people: they advocated white supremacy and nationalism. The first group originated in the early 1860’s and had 550,000 members, this “first clan” ended in the late 1870’s. Their costumes were iconic: all white robes, masks and a conical hat. Their activities included hanging or lynching of
O Brother, Where Art Thou? is a movie that takes place in the old South and portrays the trials and tribulations that took place during this time. The first scene in the movie shows a black chain gang breaking up big rocks into little rocks used to pave the railroad, and then it shows three of the men from the chain gang escaping and running through the fields to get away. After these three men escape safely, we see they are the three main characters of the movie, Ulysses, Delmar and Pete. These three men find ways to become “brothers” with black men. They receive their prophecy from a black man, they help save Tommy and they have served time in jail just like a black man. The Grand Wizard of the KKK is running in the election for governor of
Homer’s Odyssey and O Brother, Where Art Thou? have many similarities such as ancient Greece appeared to be a paradise when it really was not. The old South appeared to be pleasant, but it was full of hate. Everyone from the slaves in the old South to Ulysses and Odysseus all have a common goal: getting back home to their families. Odysseus is held captive by Kalypso and Kirke just like a slave, but he outsmarts them, kind of like how Ulysses, Delmar and Pete outsmart the KKK to save Tommy. Penny and Penelope both ultimately stay true to their husbands while they are gone on their journeys. Women in the old South had no choice but to stay true to their husbands because they controlled every move they made.
Free at Last: From Spirituals to Gospel
Carrie Gossett wrote:
Negro Spiritual music is fundamental the history of African American people. This form of music was created as a way of communication for the slaves who had been stolen away from the home, culture, traditions and religions they knew. The slaves, all from many regions of the western African Coast, were brought to this new land by force, and they were stripped bare. The songs also reflect the influence of African songs from their native lands. The slave owners believed that to save the slaves’ souls they had to be taught the ways of the bible. Slaves were prohibited from worshipping or holding any type of gathering for fear that they would learn to rebel against their owner. The first Negro spirituals featured words that mimicked the formal Christian hymns they had been exposed to during church service.
The spiritual became a way to express the hard life of slavery and to beg the God of the white master to deliver them from the bondage of this strange land. The characters in the early Negro spirituals were from the Old Testament, such as Moses, and David, who also had to overcome trials and tribulations in their lives. Slaves could easy identify with them. Though the music was based on existing hymns, the words and the dialect used were particular to the way slaves talked. Spirituals used words with dual meaning, and they conveyed messages. "My home," or "Sweet Canaan, the Promised Land” would be an example of a place where they would have freedom. When they sang of crossing the River Jordan, it was actually the River Ohio they meant! Negro Spirituals like “Wade in the Water,” “The Gospel Train” and Swing Low, Sweet Chariot” all refer to methods of escape and going north. “Swing Low” refers to the Ripley, a “station” of the Underground Railroad, where fugitive slaves were welcome. The words in the song go on to say “I looked over Jordan and what did I see a coming to carry me home/a band of angels coming after me.” This was a message to tell slaves that once they crossed over the river (Ohio) someone would be there to guide them on home (to the North). Many spirituals took on this form as a way to create hope. These spirituals songs differ from the field calls or working songs; they were sung in slow deep voices, and the work songs were more like a rap or chant using the call and response method. The messages were of dread, and of moving on to a better life, a safe place. As the tone of spirituals changed to reflect new thoughts of a promised freedom and a better way of life, the songs became more upbeat and looked forward to better times to come. They changed from songs to pass on messages and stories of hardships as a slave. The change came after Civil war. The new name given to the songs is Gospel. The Gospel songs taken from the New Testament of the Bible reflected a new beginning and happier times to come. The old Negro spirituals were changed and updated to bring in instruments, upbeat rhythms, and words of joy. The songs took on a new meaning. Now the gospel songs became a way to spread the word of Jesus and righteous living if the word is followed. Today, Gospel has become a form of preaching with song.
The songs in the movie O Brother, Where Art Thou? come from both genres of the music. For example, the song titled; “Down to the River to Pray” talks about redemptions and freedom. The movie created a story with music, based on meaning from the Gospel Hymns; the words are direct indications of parts in the Bible which talk about moral and spiritual forgiveness. The words in the gospel hymns “The Lonesome Valley” and “Angel Band” are messages that talk about redemption and how the walk has to be taken alone. The word "hymn" comes from the Greek "hymnos," and this gives some indication as to the age of hymn. They were originally songs written in honor of the Gods, leading figures, and heroes. The words; “You got to go there by yourself Oh, you got to ask the lords forgiveness” refer to human suffering and how to make it easier with God’s help. This sub-plot of the movie reveals, just as in The Odyssey, a message of what life is like and how hard things can get without the guidance of a higher power. All humans can become lost in their goal to reach home, or self, or freedom.
Negro Spiritual music is fundamental the history of African American people. This form of music was created as a way of communication for the slaves who had been stolen away from the home, culture, traditions and religions they knew. The slaves, all from many regions of the western African Coast, were brought to this new land by force, and they were stripped bare. The songs also reflect the influence of African songs from their native lands. The slave owners believed that to save the slaves’ souls they had to be taught the ways of the bible. Slaves were prohibited from worshipping or holding any type of gathering for fear that they would learn to rebel against their owner. The first Negro spirituals featured words that mimicked the formal Christian hymns they had been exposed to during church service.
The spiritual became a way to express the hard life of slavery and to beg the God of the white master to deliver them from the bondage of this strange land. The characters in the early Negro spirituals were from the Old Testament, such as Moses, and David, who also had to overcome trials and tribulations in their lives. Slaves could easy identify with them. Though the music was based on existing hymns, the words and the dialect used were particular to the way slaves talked. Spirituals used words with dual meaning, and they conveyed messages. "My home," or "Sweet Canaan, the Promised Land” would be an example of a place where they would have freedom. When they sang of crossing the River Jordan, it was actually the River Ohio they meant! Negro Spirituals like “Wade in the Water,” “The Gospel Train” and Swing Low, Sweet Chariot” all refer to methods of escape and going north. “Swing Low” refers to the Ripley, a “station” of the Underground Railroad, where fugitive slaves were welcome. The words in the song go on to say “I looked over Jordan and what did I see a coming to carry me home/a band of angels coming after me.” This was a message to tell slaves that once they crossed over the river (Ohio) someone would be there to guide them on home (to the North). Many spirituals took on this form as a way to create hope. These spirituals songs differ from the field calls or working songs; they were sung in slow deep voices, and the work songs were more like a rap or chant using the call and response method. The messages were of dread, and of moving on to a better life, a safe place. As the tone of spirituals changed to reflect new thoughts of a promised freedom and a better way of life, the songs became more upbeat and looked forward to better times to come. They changed from songs to pass on messages and stories of hardships as a slave. The change came after Civil war. The new name given to the songs is Gospel. The Gospel songs taken from the New Testament of the Bible reflected a new beginning and happier times to come. The old Negro spirituals were changed and updated to bring in instruments, upbeat rhythms, and words of joy. The songs took on a new meaning. Now the gospel songs became a way to spread the word of Jesus and righteous living if the word is followed. Today, Gospel has become a form of preaching with song.
The songs in the movie O Brother, Where Art Thou? come from both genres of the music. For example, the song titled; “Down to the River to Pray” talks about redemptions and freedom. The movie created a story with music, based on meaning from the Gospel Hymns; the words are direct indications of parts in the Bible which talk about moral and spiritual forgiveness. The words in the gospel hymns “The Lonesome Valley” and “Angel Band” are messages that talk about redemption and how the walk has to be taken alone. The word "hymn" comes from the Greek "hymnos," and this gives some indication as to the age of hymn. They were originally songs written in honor of the Gods, leading figures, and heroes. The words; “You got to go there by yourself Oh, you got to ask the lords forgiveness” refer to human suffering and how to make it easier with God’s help. This sub-plot of the movie reveals, just as in The Odyssey, a message of what life is like and how hard things can get without the guidance of a higher power. All humans can become lost in their goal to reach home, or self, or freedom.
Why is the Path to Righteousness Peopled with Hypocrits?
Sha’keela McClendon wrote:
Hypocrisy is big in a lot of religions today. Each religion assumes their practice is the only true religion. Sadly, they don’t realize that there is no perfection; surely not in a religion. There is nothing religious about degrading and making people feel bad about the decisions they have made in their lifetime. Sometimes those decisions are made for a reason and their just looking for someone to guide them. Some religions frown on newcomers that join the church because of the clothes they’re wearing or how many kids they have out of wedlock; but who are they to judge? They teach the acceptance of “sinners” but don’t live out their lesson in reality. Religion is supposed to be about the love of Jesus and teachings of the bible but most people have forgotten about that.
Church has become more a social place than a place of worship. A lot of people only go to church to gossip, see the fashion and sometimes steal. Preachers steal from the church’s bank account. Deacons write checks in the church’s name. How are these examples god like? Some preachers go as far as selling the religion on television like it’s a brand of clothing.
Proverbs 13:11 states, “wealth obtained by fraud dwindles, but the one who gathers by labor increases it.”
The worst form of hypocrisy is expressed in extremist religion. Some go as far as shunning a family member because their belief is different. In my opinion, hypocrisy starts when church members call people sinners. Are you that perfect that you haven’t sinned one time? Does this make you God, that you’re judging me? Sometimes preachers say we are all sinners, so why am I the one shunned? In many religions like my own, Christianity, you have certain classifications with the church. For example, in the Baptist church, there are the “saints”; older members who think they sit on a high pedestal in the church and have the right to correct you even when they’re wrong. Next is the middle generation, who’s stuck between the old tradition and the new generation. Some are frowned upon just because they like the idea of something new. Last, there are the young people, ready to do new things and have new styles about things in the church.
Sadly as people grow up, they tend to move on to other religions. A child raised in a strict religious household where they’ve witnessed hypocrisy tends to experience lasting effects and develops strong opinions about that religion. In some cases, they don’t get back into the church until they feel that they’ve found one that isn’t as harsh as the one they were brought up in. Somewhere along the way most religions forgot that Jesus came to teach us to love one another, despite our imperfection and down falls.
In the movie O Brother, Where Are Thou? religion helps make the characters’ journey for answers easier. It adds significance and structure. Biblical references appear multiple times throughout the movie, one being the congregation of Baptists singing as the main characters proceed to escape. Everett (George Clooney) then remarks, “They must be looking for answers.” The congregation continues to sing as they are being dunked in the river. Delmar runs down to the river and cuts to the front of the line. He is baptized, and afterwards he says:
“Well that’s it, boys. I’ve been redeemed.
and transgressions. It’s the straight and narrow
This scene is acting out the biblical story of Jesus Christ and John the Baptist. In many Christian churches, this practice enacts the belief that “god washes away your sins”; in reality this action doesn’t necessarily take away your sins from the world. After this scene ends, the characters continue to seek meaning through greed and redemption.
The Ku Klux Klan in the movie shows the elements of the Old Testament in a more modern society. Homer Stokes, leader of the KKK, explains more to us as he preaches to his followers about preserving their culture and heritage from intrusions (blacks) and by pulling the evil up by the root before it spreads. In the film the audience is reminded of the religious connection by the burning cross and the cross symbols on the costumes. In reality, the KKK members are acting more like the executioners and Tommy is portrayed as the keepers of God’s work. He says, “I ain’t never harmed any you gentlemen! I ain’t never harmed nobody!” Tommy is more Christ-like than the Klansmen, who murder and torture in God’s name.
In 2000 the movie O Brother, Where Art Thou? was released as a remake of Homer’s The Odyssey. If you have read The Odyssey and watched the movie you can clearly see the similarities between the two in the plot, theme and even the characters. It is known by many that the name Ulysses, which is Everett’s first name, is the Roman version of Odysseus. Religion has a big effect on both. In The Odyssey it takes the kind heart of Athena (Goddess of War) to push the other gods to release Odysseus. Without his belief in her, he never would have seen his family again. In O Brother, Where Art Thou? Everett and his two partners never would have seen the big flood if they hadn’t called on the Lord.
With religion being in both works, hypocrisy is there also. In the epic poem, the suitors are the hypocritical ones. They professed to be upstanding citizens and obedient to the Gods but they behaved completely opposite, violating the laws of respect and hospitality. When Odysseus returned and took back his land with violence, this was to remind the audience that those who stray will be punished.
Throughout the epic poem and film both Odysseus and Everett take similar adventures to get to their destination. In the film, Everett mocks religion, laughing at the thought of a god and telling Pete and Delmar that God cannot help them with their sins with the state of Mississippi. But Odysseus is very religious; he even visits with his crew the Oracle of Delphi before his big trip back home. This big difference is shown in the beginning of both works. Odysseus doesn’t like the way the Gods have helped him but he does accept the fact that they exist in his world. Everett, however doesn’t believe that being baptized takes your sins away, but it does help you get through the mental process of feeling better.
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