Word: tamora
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...portrayed by Sir Anthony Hopkins in one of his most brilliant performances to date, stands at the center of the web of wrongdoing, symbolically represented in one of the film's most stirring scenes by a country crossroads. Although his act of sacrificially murdering the oldest son of Tamora Queen of the Goths (the passionate and powerful Jessica Lange) sets the plot of the piece in motion, he spends most of the play contemplating and acting on his understanding of the human capacity for evil. Certainly, he is not above revenge, but as the protagonist, he allows the audience...
...spoken military man of the past; his rival, the emperor Saturninus (Cumming), is pure oil of modern politician, oozing endearments and threats, riding through Rome in an open limo with a bubble top, seizing and betraying Titus' daughter Lavinia (Fraser). Tattoos abound, on the royal Goth captives led by Tamora (Lange) and on the Moor Aaron (Lennix). A big band plays at Saturninus' Saturnalia; heavy metal accompanies the Goths. A tiger stalks the forest...
...still manages to suggest the violence in some interesting ways--most notably the scene in which Tamora, Queen of the Goths, and her sons Demitrius and Chiron, seek audience with Titus: it's transplanted into Titus' bath, accentuating the play's obsession with human flesh. Indeed, as if to further this alternative method of presenting this obsession, nearly all of the principal characters at some point or other are at least partially undressed. However, music, sound and lighting, much more than the actual set, are used to evoke an eerie, faintly unearthly atmosphere, and do so effectively. This is more...
...like them in her thirst for revenge--which she manages to convey without uttering a word. Interestingly, even in the beginning, Zimmett makes it clear that Lavinia isn't quite the paragon of innocence and virtue we might expect: there's an amusing non-verbal interplay between her and Tamora, in which she leaves no doubts as to her opinion of the barbarian prisoner...
...three most dramatically com- pelling figures--Titus, Tamora and Tamora's lover, Aaron the Moor (Uche Amaechi '99)--Sherrod, as the vengeful Tamora, is the most successful. Exuding an air of darkly brooding, smouldering bitterness mingled with a strangely tragic Cleopatra-like dignity, she somehow makes one feel she's as much sinned against as sinner...