The Capulets dress more like mobsters or thugs even though both sides could be viewed as thugs in some sort or another. So if you want to see a great version of this classic story, see the 1968 version with Leonard Whiting and Olivia Hussey - a much more satisfying movie. She really was a poor match for the power of Mr. A true love letter to one of the best movies of the nineties, this event is an absolute must for fans. Do you see what has happened? Or those who prefer it to the 1968 version. This is one of the most memorable scenes in the play as it is a dramatic, emotional scene as you see how much love is in their relationship.
Don't expect to see British people prancing around in tights when you rent this one. As always in love stories or tragedies, music is also a major helper in this film. The casting of Leonardo Di Caprio as Romeo and Claire Danes as Juliet are inspired choices, as they both give the best performance of their fledgling careers. As such, I wish to give another view, as well as an opposing view to the only one on here. Luhrmann stays with the original dialogue, which I believe adds much to the film and gives it authenticity. But let's face it: Claire Danes was so damned unconvincing as Juliet and very plain too. There are others, such as the over-dramatized and misinterpreted scene towards the end, where Romeo is about to drink the poison.
Zefrelli made his own choices in the earlier film; these were relatively conventional. Luhrmann may stay with the original dialog, but he plays fast and loose with the script. Leonardo captures the intentions of his emotions amazingly. So here is the solution to the problem on how to make a film which is primarily a visual medium out of a play that leverages poetic language. Will Romeo and Juliet ever come out with their marriage? It has been adapted into screenplays, and remade countless times.
It's glossy and boasts an attractive cast, but director Carlo Carlei's take on the Bard isn't a patch on the faithful 1968 adaptation by Franco Zeffirelli or Baz Luhrmann's contemporary urban revamp from 1996. This creates a bizarre mix, where the audience is left to think whether this is still the same old tragedy or something completely different. Olivia Hussey is gorgeous, John McEnery is a great Mercutio and the Nino Rota music is magnificent. Whiting made his last film to date in 1976. This movie deeply insulted me the first time I saw it. But amazingly, when seeing the new trailer, I automatically got drawn in on this new phenomenon — shocking, I know. You should begin your answer with a detailed analysis of one particular story before ranging more widely through the volume as a whole.
They know the words and the rhythm, the meaning and the music, and when they say something, we know what they've said. This was a bit over-done. Don't expect to see British people prancing around in tights when you rent this one. But we also, like with Juliet, get a glimpse of his character's development. The fact that he is in a clinic is absurd on its own, implying that he was much more submissive and vulnerable to the unruliness of the city that he had left behind than Fitzgerald had let on, completely incapable of moving on from the past which sounds just like another character that he was very closely associated with, does it not? Everyone else deserves to be in this lemon of a movie. But, we are not supposed to delve into the morality of his actions or feel offended at the insensitivity of the characters quite a few characters use rape in the context of amusement. I thought it was terrible.
The real message, which comes through loud and clear if you know the play or even Zefrelli's film is not the distance between the reality of events and the language, but the reality of the richness of the real play and this film. Parents are cautioned against permitting tweens and under to view this film due to its extreme violence, gross materialism, and sexual innuendo. This movie does an excellent job of combining Shakespearian dialogue with modern imagery. The experienced supporting players seem and sound more comfortable with the dialogue, notably Damian Lewis as Lord Capulet, Lesley Manville as the nurse, Paul Giamatti as Friar Laurence and Ed Westwick as Tybalt. Boring and dull classroom, heads on the desks, words that makes no sense yet you are expected to know what it means.
Yes people, this is a review of Queensland Theatre Companies Romeo and Juliet. An excellent production of the play, it captures the energy and frustration of its mostly young protagonists and is visually and musically stunning as others have observed. The congruence is lost in this film, but Baz definitely gets the magic part as well as the superfluous ritual of the church. And sure enough, we see Mr. Soon after that we are introduced to Juliet who is played by the beautiful Claire Danes, someone I haven't seen in too many movies.
It holds up quite well and if you have yet to see it and are fond of the play then you will likely enjoy it. The set designs are intricate and beautiful, and suit every frame of the film perfectly, and the icing on the cake is the music. Living under water is used to good effect. Do not see this film. Di Caprio brings his usual instinctive grace and gut-wrenching emotion to Romeo, a teenager beset by a first love doomed by a war between families, the Montagues and the Capulets, here recast as battling corporate bodies. The music and costumes were also beautifully executed.