The Tempest Blu-ray Review

Jarman's "The Tempest," shot originally on 16mm film, presents a unique challenge for high-definition video transfer. The 1080p/AVC-encoded Blu-ray manages to stay true to its low-budget origin while enhancing the resolution appreciably. Although the image retains a characteristically soft and grainy texture due to the 16mm source, there's a noticeable improvement in detail compared to previous DVD releases. Close-ups reveal finer textural details, particularly in clothing and facial complexions, benefiting from the high-definition format. The color reproduction remains consistent throughout, with no major issues in fluctuations or tampering in contrast and saturation. The print itself is mostly clean, although viewers will notice occasional white specks, small scratches, and a persistent light spot in the lower central screen area during brighter scenes.

The high-definition transfer, presented in its original 1.33:1 aspect ratio, delivers respectable clarity and resolution. While the contrast is average, it is well-balanced with crisp whites and dependable blacks that lend depth to shadow-heavy scenes. The natural grain structure contributes to the film's cinematic quality, enhancing its authentic visual aesthetic. Despite being shot with ample shadows, critical background details remain discernible unless intentionally obscured by the cinematography. Overall, this Blu-ray presentation of "The Tempest" brings out the best from its modest source material, providing an engaging and visually faithful experience.

The audio presentation of "The Tempest" Blu-ray by Kino features a strong uncompressed Linear PCM 2.0 stereo track that, given the low-budget origins of the production, is commendable. The dialogue is predominantly clean and easy to understand, although it occasionally sounds a bit thick in the mid-range frequencies. The film's sparse use of sound effects and ambient noises – such as marching sounds, croaking frogs, and stormy winds – means much of its atmosphere relies on the original music by Brian Hodgson and John Lewis, which ranges from eerie calliope to deep synthesizer notes. Unlike other releases like Sebastiane, this mix shows no pitch-wobbling issues. However, the absence of subtitle options is a disadvantage, particularly for comprehending the film's dense and archaic Shakespearean dialogue.

This release maintains a high-quality audio presentation with an uncompressed PCM mono soundtrack. Typical issues like hissing and background noise are present but minimal, which is forgivable considering the source material. The dialogue is well-prioritized, ensuring Shakespeare's poetic lines are delivered clearly. The dynamic range, while not extensive, is sufficiently detailed to serve the film's needs, and the bass is robust when required by the action and music. Overall, this mix offers a good lossless audio experience suitable for this dialogue-centric production.

The Blu-ray extras for "The Tempest" are an impressive collection, showcasing Derek Jarman's early Super-8 shorts that reflect his experimental artistry. Each short film offers a unique exploration of visual storytelling, reminiscent of Stan Brakhage’s avant-garde style but with a raw, unpolished edge. "A Journey to Avebury" captures the serene and enigmatic megalithic stone circles in a series of evocative landscape shots. "Garden of Luxor" employs double exposures and pyramid imagery to create a hypnotic visual experience, while "Art of Mirrors" features three figures interacting with light in a stark, concrete setting. These shorts are indispensable for admirers of Jarman’s work, providing insight into his developmental years as a filmmaker.

Extras included in this disc:

• A Journey to Avebury: A series of landscape shots around the village of Avebury, known for its megalithic stone circles.
• Garden of Luxor: Features lots of double exposures and pyramid imagery.
• Art of Mirrors: Three figures in a concrete landscape reflect light back at the camera.

Derek Jarman’s take on Shakespeare's The Tempest is a fascinatingly avant-garde retelling that combines thematic substance with visually compelling eccentricity. Known for his boundary-pushing creativity, Jarman disregards traditional Shakespearean aesthetics, instead opting for a vivid, anarchic interpretation. His vision is never anything less than striking, from the haunting set designs to the unorthodox costume choices, which engulf the film in a spectral aura. Filming within the decomposed grandeur of Stoneleigh Abbey, Jarman's settings create an otherworldly atmosphere that complements the eerie storyline. The film's unsettling scenes—such as Caliban's grotesque consumption of a raw egg by the fire or Ariel’s peculiar bone-handling—are memorable for their sheer bizarreness.

The narrative zealously follows the core storyline despite its departures from the original text. Heathcote Williams embodies Prospero with a powerful mix of menace and melancholia, while Karl Johnson's Ariel exudes a hypnotic oddity, and Toyah Willcox’s Miranda defies the conventional portrayal by being both sensual and erratic. Jarman takes creative liberties with Shakespeare’s dialogue, preserving key soliloquies yet splicing the text to match his distinct vision. Themes of love, revenge, and power permeate, though interpretations can be uneven. Notions of colonialism and authoritarian critique subtly infiltrate through the actions of Caliban (Jack Birkett), whose raw longing for freedom evokes both pity and discomfort.

Jarman’s film pulses with an evocatively unsettling energy throughout, ensuring that the original’s mysterious charm is transformed into something darker and more disquieting. From ghostly mise-en-scènes to startling deviations in dialogue and plot structure, the film stands as a testament to Jarman’s transformative imaginative abilities. In blending high theatricality with visual non-sequiturs—such as Elisabeth Welch’s sunny performance amidst a sea of confetti-throwing sailors—the film demands an unconventional viewing experience, one that reflects Jarman’s unique interpretive lens. Clearly, this adaptation offers a compelling raison d'être through its sheer audacity and visual ingenuity.

Derek Jarman’s reinterpretation of William Shakespeare’s 'The Tempest' is a visually arresting spectacle that stands apart due to its haunting imagery, deconstructed set and costume design, and a memorable song-and-dance number by Elisabeth Welch. The film, noted for its eccentricity and distinctiveness, offers a unique and unconventional take on Shakespeare's final play. Although the original film’s visuals were never pristine, Kino’s Blu-ray transfer provides a considerable improvement, maintaining fidelity to the source material while delivering enhanced picture quality. The audio presentation is robust, ensuring that the auditory experience complements Jarman’s visually rich narrative.

While not a traditional adaptation of Shakespeare, Jarman’s 'The Tempest' captivates with its flamboyant and imaginative approach, reflecting the filmmaker’s deep admiration for the Bard’s work. The Blu-ray edition, surprisingly polished considering the modest production budget, offers an appreciable upgrade over previous releases. The supplementary features, although limited, add value to this package, making it a worthwhile acquisition for enthusiasts of Shakespeare, Derek Jarman, and those who appreciate cult and camp cinema.

I've yet to watch Julie Taymor's The Tempest, so I'll hold my judgment, but for now, Derek Jarman's take on Shakespeare's final tale is the oddest I've seen, with its haunting imagery, deconstructed set and costume design, and jubilant Elisabeth Welch song-and-dance number. I wish I'd gotten to watch this version in high school. The film has never, nor will it ever look particularly sharp or clean, but Kino's Blu-ray edition at least seems true to source and presents a suitable upgrade in picture quality. Recommended for fans of Shakespeare, Jarman, the camp, and the cult.