Movie Review
I still remember the day I first saw Romeo + Juliet at the cinema. It was 1996, and I was just 17 years old. I'd never heard of Baz or Bazmark Inq, and so I entered the cinema with a youthful naivety. Of course I knew of the play, I'd studied it at high school with great enthusiasm. Unlike many of my peers, Shakespeare had always interested me and I was therefore curious about this new film. However, what increased my curiosity was the fact that all my friends were raving about it too…
I smiled a little as the television appeared in the opening scene, and thought to myself what a marvellous idea it was to have a newsreader cite the opening dialogue. But nothing could prepare me for the spectacle that followed, and I found myself gripping the arms of my chair, staring at the screen in utter wonderment as I watched the frantic images flash before me. The movie filled me with a sense of exhilaration and excitement, and immediately I was engrossed in the fictitious world of Verona. And yet it didn't seem fictitious at all for, as the movie began to progress, I found more and more aspects of the film that I could identify with...
I noticed the multitude of clever modern references from the very beginning, and marvelled at how the story had been transformed into such an intense sequence of opening frames. The defining moment for me was when Benvolio emerges at the gas station bearing his gun and shouting, "Part fools, you know not what you do!" The camera zooms towards his gun to reveal the brand name, "Sword 9mm Series S". He cries, "Put up your swords!" and the meaning of the words became instantly apparent. I remember thinking to myself that this idea of transforming swords into guns was pure genius, and I was immediately hooked.
The year I first saw Romeo + Juliet was my final year of high school, and so I was able to observe the reaction of my teenage peers. It turned out the movie was totally infectious. Everyone at my school was talking about it, and everyone who saw it was eager to share how it had affected them. There were the typical teenage musings about Leo and Claire, and of course the soundtrack was suddenly on everyone's shopping list. But what amazed me most was the fact that many of my peers who had never enjoyed Shakespeare before were suddenly eager to learn more about the play and even the man himself. I remember we studied some of Shakespeare's plays in our English class that year, and we happened to be studying 'Romeo and Juliet' around the time that the film was released. I had never seen such enthusiasm about the text, and it was fantastic to see how much of a positive influence the film had on the people around me. The effect that Romeo + Juliet had on me was also profound. I bought the soundtracks, the video, the screenplay, and even the Complete Works of Shakespeare. But it wasn't until a few years later that I began to realise the significance of the people behind the lens, and the unstoppable genius of Baz who was the inspirational visionary behind the entire project.
Introduction
The following essay was written
during my second year at University in May 1999. I studied several film courses that year,
and one of these focused on the idea of youth in modern cinema. The course included Romeo
+ Juliet on the syllabus, and I was overjoyed at the opportunity to write about a
film that had affected me so deeply. I submitted this essay as one of my major
assignments, and subsequently received a Distinction grade, which I was most pleased with!
:-)
This essay will serve as my overall review of the movie, with particular emphasis on the
way it affected the youthful audience it was directed at. I have modified this essay from
its original version to improve the wording of some sentences, but it remains largely as I
wrote it, and it is for this reason that I must point out the following...
It is important to note that at the time I wrote this piece of work, I did not realise the
significance of Baz's team in the creation of his films. I subsequently only mention Baz
throughout the essay and give full credit to him alone. I now know that I should have
addressed other members of the team, such as Don McAlpine, Craig Pearce, Jill Bilcock and
particularly Catherine Martin and Kym Barrett. It is only recently that I have come to
realise and appreciate the complexity of movie making. Therefore, while Baz's vision was
indeed the driving force behind the movie, please remember that when I refer to him in my
essay, what I often mean to say is Baz and his wonderful team!
'The idea of youth
in Romeo + Juliet'
- By Vanessa
Romeo + Juliet is a prime example of a
film that is clearly constructed to influence a target audience. The movie is specifically
directed at the youth population and, through a variety of techniques, the production is
most effective in attracting the attention of today's youth by combining a traditional
story with contemporary issues. In the making of a film, it is the director who has
ultimate control, and Baz Luhrmann has taken full advantage of this position in the
creation of his modern masterpiece. His goal was to create a twentieth century version of
the greatest love story of all time and, in the end, it is his unique vision that is
conveyed to the screen. This essay will discuss how the film was structured to appeal to a
particular audience, and the methods that were used to successfully achieve the monumental
task of making Shakespeare's play more accessible to the youth population with
unprecedented results.
The beginning of Romeo
+ Juliet creates an overall sense of shock value as it dramatically sets the powerful
atmosphere of the film. A small television set appears in the centre of a black screen. A
familiar image appears, that of a stereotypical female newsreader seated at a studio desk.
As she begins to cite the original opening dialogue from the play, the television
gradually becomes larger, creating a growing sense of anticipation. As she finishes her
passage, there is a lightning zoom right into the screen itself. From that moment onwards,
all our optical and auditory senses are assaulted. High-pitched, operatic music blares at
us, and sporadic, sweeping images speed past as the camera zooms across the stunningly
modernised city of Verona. A male voice-over repeats Shakespeare's opening dialogue, but
it is the visual spectacle that keeps the audience enthralled right up until the film's
title is boldly sprawled across the screen. Similarly, the following gas station sequence
flies by in a frenzy of lightning cuts, slam zooms and intense close-ups. The music
reaches a deafening crescendo as this scene climaxes and Benvolio and Tybalt stand
screaming at each other in the street, guns aimed and ready to fire. The beginning of the
film is visually spectacular and, backed with a pumping soundtrack, serves as an
astounding introduction to a contemporary movie of the most extreme kind.
Romeo + Juliet is a production like no other. It breaks away from almost every
traditional concept of the play as it attempts to update the most timeless love story in
history. The film is a unique and very personal vision from director, Baz Luhrmann. While
the dialogue is strictly Shakespearian, the text has been edited by Luhrmann to better
suit his interpretation. Many scenes have been cut, but he has kept those lines that are
most relevant and most pivotal to the storyline. Actors do not give stereotypical,
theatrical performances, but instead use their own modern style and Americanised accents.
In fact, through the use of physical gestures, facial expressions and tone of voice, it is
often not necessary to understand the words at all. The lavishly detailed settings,
intensity of the music, and sweeping movements of the camera further exemplify the
happenings of the movie. All this heightens the audience's accessibility of the film and
makes it much less daunting for those not familiar or comfortable with Shakespeare's
works. The film still retains all the complexity of the play, yet also manages to offer a
more direct approach that is easily accessible to all. In particular, it opens up the
literary door to the younger generation. Romeo + Juliet can be seen as primarily
a "youth film", one that aims to increase the knowledge and appreciation of this
classic tale by blatantly aiming its appeal at this target audience.
It is important to
distinguish Romeo + Juliet from the popular "teen film" category. While
it does have some elements of a typical teenage-orientated venture, the movie goes beyond
the stereotypical formula of this category in its creation of a more sophisticated
"youth film". In accordance with the "teen film" stereotype, the two
leading characters are young and attractive, perfect pin-up material for future issues of
teenage magazines. The soundtrack is loud and modern, a definite "must have" CD
that will result in teenagers saving up their allowance in order to buy it. However, the
similarities stop there. There is no method plot and no method characters. Instead, Romeo
+ Juliet goes beyond the "teen film" category in its exploration of
relevant adolescent issues that today's youth must contend with every day. These include
formation of relationships, conflicting emotions, parental pressures and interacting with
the world at large. The movie also presents the opportunities available to young people of
today including rebellion and freedom of choice. In sum, Luhrmann has effectively taken a
text that is not necessarily for youth and transformed it into something that is.
Since Romeo + Juliet is a "youth film", it has been specifically aimed
at the youth market and adjusted accordingly to suit their expectations. While this film
was not made by youth, it depicts a general perception of youth, and Luhrmann appears to
have gotten it right. When the film was released in Australia, there was an overwhelmingly
positive response from its target audience. The soundtrack, a pivotal form of personal
identification within the film, went straight to number one on the music charts. The album
remained at this position for several weeks and, subsequently, a second CD was soon
released. The stars of the film, Leonardo DiCaprio and Claire Danes, became instant
celebrities, and box office takings were huge worldwide. The idea of youth is a global
phenomenon, and Luhrmann took full advantage of this to make his work an extraordinary
success.
Luhrmann uses a
variety of cinematic methods to bring his unique vision to the screen. First of all, he
makes use of conventional directing techniques where framing and editing are bought
together to effectively convey the feeling and overall atmosphere of a scene. A good
example is the sequence in the courtyard of the Capulet Mansion where the two young lovers
cite Shakespeare's classic balcony dialogue from the side of a pool. Romeo is standing
hidden against a wall when Juliet enters the courtyard. Luhrmann frames her entrance with
full shots of both characters standing side by side yet hidden from each other's view. As
we watch Juliet walk further into the courtyard, the camera begins to cut to close ups of
Romeo's face in order to relay the variety of emotions he is experiencing. The camera then
lingers on a medium full shot of Juliet squatting by the pool and we observe her for a
while as she speaks, unaware of his presence. A series of instantaneous cuts occur when
Romeo makes himself known and startles Juliet from behind. We see a glimpse of a foot
slipping, an extreme close up of Juliet's face as she screams, and then a full shot of
both characters as they fall into the pool. The 180 system is used a lot in the water as
the camera switches back and forth between Romeo and Juliet as they speak. With his
thoughtful combination of conventional techniques, Luhrmann successfully creates the
romantic atmosphere of this timeless scene.
Lighting and the use of colour are other conventional techniques that Luhrmann uses to his
full advantage. The Capulet Ball is bold and colourful in order to complement the dazzling
spectacle of the party. The church is also stunningly bright, but colours are not so
confronting and everything is bathed in a white light. The prominent colour in the unique
pool scene is pastel blue. Soft blue light shines on the lover's faces and on the objects
within the courtyard creating a gentle, romantic mood. The water in the pool is blue, as
are Romeo's eyes and even the television screen of the security cameras! More effective
use of colour occurs during the sequence leading up to the death of Mercutio. The scene is
set on the beach at Sycamore Grove and, right from the beginning, we see that a storm is
brewing. The sky is a rich mixture of orange and yellow while the sea is a dirty brown.
When Mercutio is fatally wounded, the clouds darken and dust fills the air. The storm
swells, the wind blows and the sea becomes black and angry. It is a stunning usage of
computer imagery that boldly accentuates the tragedy of Mercutio's death.
Music is an
important part of any film and assists in heightening the emotion of pivotal scenes.
Soundtracks offer freedom of cinematic expression; every song helps to create the overall
tone of a particular scene. Music is especially relevant in Romeo + Juliet and
tracks have been meticulously chosen. The melancholy tune of "Talk Show Host"
sets the scene for Romeo's introduction. The opening lyrics, "I want to be someone
else or I'll explode", exemplify his obvious feelings of hurt and despair as he
writes poetry about the downfalls of love. The music later develops more of an energetic
feel as Mercutio and his Montague friends arrive at the Capulet Ball to the upbeat sound
of "Young Hearts Run Free". The contrasting beat of "Angel" follows as
we observe Juliet standing on a balcony dressed in her white angel costume. The beautiful
melody of "Kissing You" marks the initial meeting of Romeo and Juliet, and
Desree's deep, soulful voice glides gently through the house as the strangers playfully
observe each other through a large fish tank. The amazing voice of Quindon Tarver revives
the romantic atmosphere for the wedding scene as he sings "Everybody's Free".
The lyrics, "I know you've been hurting, but I've been waiting to be there for
you", are especially relevant for Romeo whose earlier turmoil is temporarily relieved
by his marriage to Juliet. Later, "Little Star" plays softly in the background
as Juliet fantasises about her newfound husband. Finally, the violent rhythm of "To
You I Bestow" beats mercilessly as Romeo re-enters Verona and heads towards the
church where the lovers will tragically meet their untimely end. Combined with a brilliant
operatic musical score, the songs in Romeo + Juliet further add to the intensity
and genuine emotion of the film.
Luhrmann's sets in Romeo + Juliet are nothing less than stunning. The Capulet
Mansion is large and sophisticated with valuable paintings and furniture emphasising the
wealth and status of its owner. From the impressive staircase that graces the downstairs
foyer, to the adjoining elevator that bears the Capulet coat-of-arms on its golden doors,
it is clear that Fulgencio Capulet has spared no expense in flaunting his power for all to
see. Similarly, the church is huge and elaborately detailed. Various drawings and statues
of religious figures line the walls and a stunning stain glass window arches high above
the altar. When the church is transformed into Juliet's tomb, the room is astoundingly
beautiful. The pathway leading to her resting place is lined with blue, neon crosses and
the floor is covered with soft shades of rose petals. The room is bathed in the gentle
light of hundreds of candles, their tiny yellow flames flickering throughout the church.
Juliet looks exquisite as she lies on her bed of white satin, her head resting on pillows
lovingly embroidered with her own initials. She holds a small bunch of pure white orchids
in her hands with more white buds entwined in her hair. Angel statuettes watch over her
from either side and, in the soft glow of the candlelight, she almost looks as if she
could be one of them. Luhrmann's unique settings are spectacular in both detail and
appearance and successfully create an eye-catching backdrop that serves to enhance the
story of the film.
The Capulet Ball is one of the most outstanding sequences in the movie. The
decorations are spectacular, and the costumes are magnificent. However, the party is not
all just glitz and glamour. Upon closer investigation, we can see that it is also a
perfect opportunity for Luhrmann to accentuate the individual motivations of the
characters with clever use of costumes. Gloria Capulet is Cleopatra, Queen of Egypt.
Cleopatra was a beautiful and defiantly strong-willed woman, much like Gloria herself.
Fulgencio Capulet is Julius Caesar, one of the greatest leaders of the Roman Empire, and
the perfect costume for a power-hungry mogul. It is interesting to note the further
similarities between these characters and their costumes. Cleopatra and Caesar were lovers
and had a child together, but never married. During the party, Fulgencio socialises with a
number of women and Gloria is seen kissing Tybalt. These actions imply a lack of monogamy
between the characters, highlighting the insecurity of their marriage while blatantly
symbolising the adultery of their pseudo identities. Tybalt's devil costume is also an
obvious portrayal of disposition. Both Satan and Tybalt are dangerous and not to be
trusted, and it is Tybalt who later commits the act of murder, an evil deed that sets off
the tragic chain of events that lead to Romeo and Juliet's downfall. On a lighter note,
the extroverted Mercutio is dressed as a flamboyant drag queen. This costume can be seen
to indicate an identity crisis and uncertainty about life in general, but also a
willingness to break convention and embrace a modern form of personal expression. In
contrast, Dave Paris is a US astronaut, a classic example of American sureness and
patriarchism. But despite all these clever implications through costume, it is the two
leading characters that are most aptly dressed. Romeo is the shining knight in armour who
has been sent to rescue Juliet, and Juliet is a bright angel, innocent and pure, who has
been sent to relieve Romeo's confusion and despair. It could be seen that Juliet is
Romeo's guardian angel, Romeo is her saviour and they cannot survive without the love and
guidance of each other. Of course, the significance of the costumes may not occur to
everyone, but one cannot underestimate the intelligence of youth.
The primary purpose of Luhrmann's modernised version of Romeo + Juliet is to make
the tale more easily understood, and this is especially emphasised by his effective use of
symbolism throughout the film. The most obvious example is his transformation of swords
into guns, a weapon that is better understood by the youth of today. The swords used in
the traditional play seem outdated, so Luhrmann turns them into guns of various calibres
while cleverly retaining their namesake. His unique application of modern symbolism
continues in a more subtle way with the use of graffiti and billboards. "See Death's
Face" is sprawled across a wall as we are introduced to Romeo, and a billboard
reading "Shoot Forth Thunder" stands tall on the beach at Sycamore Grove. The
use of these forms of expression demonstrates the atmosphere of violence and despair in
Verona; a city that can be metaphorically interpreted as today's society. Another modern
phenomenon is demonstrated by the use of cars in the lead up to Tybalt's death. Road rage
is a contemporary issue that is all too often associated with tragedy in our world today,
and thus leads to inevitable tragedy in the film that results in Tybalt's death. Another
well known and arguably less dangerous type of modern expression used in the film is
television. Luhrmann uses this method of communication as a pivotal form of symbolism to
relay important information to both the characters and the audience. In the opening scene,
a television newsreader sets the scene and informs us of upcoming events. The movie ends
in an identical way as the same woman cites Shakespeare's prologue. The concept of
television is also used throughout the film. For example, on the beach, television informs
Romeo of the civil brawls that had taken place that morning, and in the pool hall it
informs him of the Capulet Ball to be held that night. Luhrmann's use of modern symbolism
effectively helps the audience to better relate to the happenings of the film.
Despite
Luhrmann's varied attempts at making his version of Romeo + Juliet accessible to
all, his methods were not embraced by everyone. Every Shakespearian play has its critics,
and every film interpretation has its inevitable bad reviews. Romeo + Juliet is
no exception. Negative critiques have been directed at this contemporary version,
primarily by those who are not willing to understand its aims or comprehend its unique
rendition of the ever-changing world we live in. This shows that manipulation of the
cinematic audience is limited, and does not receive positive reactions from all. However, Romeo
+ Juliet was made for youth and, unlike many of their elders, the general youth
population did not pass quick, unsubstantiated judgements. Instead, the unique and daring
style of the movie was openly embraced. While writing about Romeo + Juliet in the
introduction to his screenplay, Luhrmann says, "It's important to reveal these
eternal characters anew for every generation." (p.1) This is precisely what he did.
Yet, comparisons between different cinematic versions of the same play are inevitable.
Different people will criticise one, and favour another. However, most of today's youth
were not even born until after these other film variations were released. From this
perspective, it is therefore understandable why they are the most accepting and
appreciative audience of this film.
Before the addition of Baz Luhrmann's Romeo + Juliet, it was Franco Zeffirelli's
1968 production that was heralded as the most popular interpretation of our time. The
movie won international acclaim, and dramatically influenced the general perception of the
classic play. Today, this influence remains strong, and it seems that some people still
think of Romeo and Juliet as Leonard Whiting and Olivia Hussey. They refuse to comprehend
any alteration to the long-running stereotype and, subsequently, scorn any attempt at
change. This is clearly seen in a review of Luhrmann's new adaptation by Jim Welsh. He
openly displays favouritism towards Zeffirelli's film and, in doing so, completely
bypasses everything that Luhrmann's version sets out to achieve. A more open-minded and
positive review was written by Jose Arroyo, and it is interesting to compare the two.
Arroyo calls Luhrmann's movie a "visceral epic", whereas Welsh cynically labels
it as "visually bizarre". Arroyo commends Luhrmann's unique settings, but Welsh
thinks they are "ugly". Welsh openly praises the acting in Zeffirelli's film,
while Arroyo considers it to be "rather badly acted". Welsh is also extremely
prejudiced towards the contemporary characters. While Arroyo describes Tybalt as
"sleek" and "elegant", Welsh states the character has "all the
dignity of a pimp or drug dealer". However, the most ignorant remark comes about when
Welsh mercilessly slams the African-American drag queen that is Luhrmann's Mercutio. He
states coyly, "If Mercutio is indeed Romeo's cousin, a number of genetic tricks must
have been played." (p.2) This attempt at satire is actually an embarrassing
demonstration of the author's incompetence, for Mercutio is Romeo's best friend, and not
his cousin at all!
It is evident that
Baz Luhrmann's Romeo + Juliet is an adaptation like no other. He has blatantly
aimed its appeal towards a youth audience and, based on their phenomenally positive
reaction, his endeavour was triumphant. Despite the inevitable cynicism of some critics, Romeo
+ Juliet was a huge cinematic success. People must first put aside their
preconceptions in order to appreciate this film for what it is. It was a bold venture by
Luhrmann to dramatically remake such a stereotypical tale, and his efforts should be
commended. Furthermore, today's youth responded, and perhaps not just because it was
obviously created for them. Youth also responded because they watched it without
prejudice, and subsequently found something they could relate too.
Bibliography
- William Shakespeare's Romeo + Juliet, Directed by Baz Luhrmann, Screenplay by Craig Pearce and Baz Luhrmann, Starring Leonardo DiCaprio and Claire Danes, Twentieth Century Fox Film Corporation, 1996.
- Arroyo, J. 'Kiss Kiss Bang Bang', Sight and Sound, 7.3, 1. March 1997: 6-9.
- Luhrmann, B. and Pearce, C. William Shakespeare's Romeo and Juliet, The Contemporary Film, the Classic Play, Harper and Row, New York, 1996.
- Welsh, J. 'Postmodern Shakespeare: Strictly Romeo', Literature Film Quarterly, 25:2, 1997: 152-153.
