The works of William Shakespeare have been one of the diligent hot spots when it comes to adaptation and appropriation. We find that the dramatic adaptation of Shakespearean theater texts began as early as the Restoration period. Different fields like poetry, novels, advertising and films have also become linked with Shakespeare. Adapting Shakespeare makes him adept at adapting to new social contexts and distinct political philosophies. After about a century of Shakespeare adaptation, there is no doubt that "The Tempest" is one of his plays that has been regularly adapted interstate. The countless liberties that film producers took in adjusting The Tempest are made clear by the fact that it is "one of Shakespeare's most unrealistic plays." In this film we witness a colossal reconsideration of Shakespeare's dramatic measures, for example magic, and his themes, such as the revelation of the "New World" by the Renaissance or the power of the Renaissance ruler and patriarch. One of the pleasures of this film is the recognition of such unique Shakespearean elements in their modern cinematic appearance. This action of recognition has for the modern public the equivalent of the Renaissance pleasure in "impersonation", the reconsideration of messages established in a Renaissance semblance, it being said that the public must also eventually become familiar with the original plot keeping the end goal in mind. have undoubted discernment. In this film we find an exceptional version of The Tempest in which the island of Prospero transforms into Planet Altair IV in 2257 and the sailors of The Tempest happen to be the individuals of a rescue expedition which affected the planet at a given moment. spacecraft (joins the C57-D planetary cruiser). We see that in Shakespeare's play the plot is limited to magic, Forbidden Planet uses technology. The technology introduced in Forbidden Planet is not intended to be understood by the audience, but rather we can safely say that it was, for all expectations and purposes, "Magic". This is undoubtedly to a limited extent with regard to the idea. Towards the start the parallelism between the character of the film and the text is clear, Morbius would be a modernized Prospero and Altaria would constitute another Miranda, Robby would be Ariel and Miranda who, not knowing any man, apart from her father, begins to look with starry-eyed Commander Adams, virtually identical to Ferdinand in the play. The role of Caliban is played by the post-Freudian identity monster. In the opening scene of Shakespeare's The Tempest, we get a glimpse and some of the play's fantasies and trickery. Shakespeare as we all know, in all his play begins by introducing his main characters, however The Tempest begins towards the end of the actual story, similarly in the film, Wilcox introduces us to the crews of the ship keeping the atmosphere of the imminent situation. at the beginning of the film. In Shakespeare's play, the motif of the master-servant relationship is presented to us by the characters on the ship, the nobles, for example Antonio and Gonzalo, and the workers or experts, for example, Boatswain. Similarly, in Forbidden Planet we also observe this. motif being depicted as Morbius and Alta's control and authority over Robby, in the film Robby was described as "absolute selfless obedience", which clearly shows us that