Anyone who remembers Julie Taymor’s 1999 version of Titus Andronicus, Shakespeare’s first published play, will not be expecting a reverential treatment of what is reputedly his last, but Taymor’s new film does move more or less inexorably to the play’s final wisdom: ‘The rarer action is / In virtue than in vengeance.’ The Tempest is a difficult play, fraught with tensions that resonate perhaps even more forcefully in our time than in Shakespeare’s, but overall it is pervaded by a sense of ‘lastness’, of moving almost painfully towards resolution of what may have seemed irreconcilable conflicts, as if its author shared with Miranda her view of a ‘brave new world / That has such people in’t’.
Brian McFarlane’s latest book is Four from the Forties: Arliss, Crabtree, Knowles and Huntington, Manchester: MUP, 2018. He has had three overlapping careers, as teacher, academic, and writer. He is the author or editor of over twenty books and hundreds of articles and reviews on film and literature and related matters. He co-edited The Oxford Companion to Australian Film and was compiler, editor and chief author of The Encyclopedia of British Film. His most recent books include: Twenty British Films: A guided tour and Double-Act: The remarkable lives and careers of Googie Withers and John McCallum. He is currently serving as Adjunct Professor at Swinburne University of Technology and as Adjunct Associate Professor at Monash University.
From the New Issue
Lettersby Michael Halliwell, Ben Brooker, Antoinette Halloran, Helen Balzer, Katherine Vowles, Hayley Smith, Lara Stevens, Judith Thomas, Daniel Howard
Time of the Magicians: The invention of modern thought, 1919–1929 by Wolfram Eilenberger, translated by Shaun Whiteside