Книги Просперо: Экранизация «Бури» Питера Гринуэя

1991 British film by Peter Greenaway

Prospero's Books is a 1991 British avant garde film adaptation of William Shakespeare's The Tempest, written and directed by Peter Greenaway. Sir John Gielgud plays Prospero, the protagonist who provides the off screen narration and the voices to the other story characters. As noted by Peter Conrad in The New York Times on 17 November 1991, Greenaway intended the film “as an homage to the actor and to his 'mastery of illusion.' In the film, Prospero is Shakespeare, and having rehearsed the action inside his head, speaking the lines of all the other characters, he concludes the film by sitting down to write The Tempest.”

Stylistically, Prospero's Books is narratively and cinematically innovative in its techniques, combining mime, dance, opera, and animation. Edited in Japan, the film makes extensive use of digital image manipulation (using Hi Vision video inserts and the Quantel Paintbox system), often overlaying multiple moving and still pictures with animations. Michael Nyman composed the musical score and Karine Saporta choreographed the dance. The film is also notable for its extensive use of nudity, reminiscent of Renaissance paintings of mythological characters. The nude actors and extras represent a cross section of male and female humanity.

Prospero's Books is a complex tale based upon William Shakespeare's The Tempest. Miranda, the daughter of Prospero, an exiled magician, falls in love with Ferdinand, the son of his enemy; while the sorcerer's sprite, Ariel, convinces him to abandon revenge against the traitors from his earlier life. In the film, Prospero is Shakespeare himself, conceiving, designing, rehearsing, directing and performing the story's action as it unfolds and in the end, sitting down to write the completed work. Ariel is played by four actors: three acrobats—a boy, an adolescent, and a youth—and a boy singer. Each represents a classical elemental.

In his 17 November 1991 article for The New York Times, Peter Conrad observed “ the performance is also a revelation of Sir John himself: simultaneously noble and naughty, a high priest and a joker, contemplating at the end of a long life the value of the art he practices.” Roger Ebert gave the work three stars out of four and argued, "Most of the reviews of this film have missed the point; this is not a narrative, it need not make sense, and it is not 'too difficult' because it could not have been any less so. It is simply a work of original art, which Greenaway asks us to accept or reject on his own terms."

The film grossed £579,487 at the UK box office.

This was the last of the collaborations between director Peter Greenaway and composer Michael Nyman. Most of the film's music cues, (excepting Ariel's songs and the Masque) are from an earlier concert, La Traversée de Paris and the score from A Zed & Two Noughts. The soundtrack album is Nyman's sixteenth release.