IMDb-BEWERTUNG
7,6/10
36.442
IHRE BEWERTUNG
Als sich zwei junge Mitglieder streitsüchtiger Familien treffen, kommt es zu verbotener Liebe.Als sich zwei junge Mitglieder streitsüchtiger Familien treffen, kommt es zu verbotener Liebe.Als sich zwei junge Mitglieder streitsüchtiger Familien treffen, kommt es zu verbotener Liebe.
- 2 Oscars gewonnen
- 16 Gewinne & 16 Nominierungen insgesamt
Empfohlene Bewertungen
Truly one of the best films ever created of Shakespeare's plays. While in today's MTV - short attention span world this film may seem boring, in 1968 this film was revolutionary (I am not prejudice since I am in the MTV generation). Until this time R&J had been played by much older actors, since it was assumed they could understand Shakespeare's language. In 1968, Franco Z. gives us actors the actual age of Shakespeare's lead characters and they can act. Add to that stunning sets, costumes and music, the result is a moving artistic creation. The performances are superb, my personal favorites being Michael York's Tybalt and Milo O'Shea's the Friar. The language can be difficult and the action plotting, but one has to have patience when devoting attention to Shakespeare's plays, acted or read. Enjoy!
Zefferelli is a sporadic master. Here he is in his prime. See how he understands how to direct groups, how to continue a motion from one frame to the next, how to use color to punctuate.
What has happened here is that he has hit on a formula that works toward the problem of moving Shakespeare (a verbal, intellectual event) into film (a matter of motion and image).
It works because the play can be cast largely in terms of crowds, sometimes mobs. Never have I seen this done so well.
Much of the verbal poetry is cut, and image poetry replaced in sufficient measure to satisfy. Mercutio is rightly seen as the heart of the play, balanced by the Nurse. Both are terrific.
Oh how I wish we could combine the cinematic skills of young Zefferelli with the Shakespearian insights of Branagh and the imagination of Greenaway to do, say a Lear. Bliss in the imagining.
What has happened here is that he has hit on a formula that works toward the problem of moving Shakespeare (a verbal, intellectual event) into film (a matter of motion and image).
It works because the play can be cast largely in terms of crowds, sometimes mobs. Never have I seen this done so well.
Much of the verbal poetry is cut, and image poetry replaced in sufficient measure to satisfy. Mercutio is rightly seen as the heart of the play, balanced by the Nurse. Both are terrific.
Oh how I wish we could combine the cinematic skills of young Zefferelli with the Shakespearian insights of Branagh and the imagination of Greenaway to do, say a Lear. Bliss in the imagining.
10Philaura
Exquisite. The beauty, the innocence, the undeniable - all consuming fire of first love portrayed to the hilt. Juliet's delicate grace was breathtaking. I was totally convinced by this young acting team that they were as in love as is humanly possible. One can smell and taste 14-15th century Italy while following the locations. The performers, everyone, are as genuinely sincere in their humor and passions as one could possible imagine, bringing to life Shakespere's words like I've never seen before.
I cry every time I see it - all the way through. Mr. Zeffrelli, you are the best.
I cry every time I see it - all the way through. Mr. Zeffrelli, you are the best.
10JFClift
I have seen multiple versions of R&J, from the 30's version, with Leslie Howard (in his 40's I think) & Norma Shearer, to the most recent thing with DeCaprio & Danes. None of them touched me in the way that Zefferelli's did, & continues to do. It was one of the first DVD's I bought, because I can watch it again & again, & still be heartbroken by the ending.
The thing that shook me most the first time I saw it was that, in spite of the Shakespearian language, I got the meaning of the characters' statements immediately. The Shakespearian language was not a barrier at all. I had previously had to spend anywhere from 15 to 20 minutes before I could begin to follow the dialogue....there was no lag time with this version. To me, it will always be the definitive film version of this classic.
The thing that shook me most the first time I saw it was that, in spite of the Shakespearian language, I got the meaning of the characters' statements immediately. The Shakespearian language was not a barrier at all. I had previously had to spend anywhere from 15 to 20 minutes before I could begin to follow the dialogue....there was no lag time with this version. To me, it will always be the definitive film version of this classic.
I caught this production on TV just now...saw it in the theatre years ago and have seen it many times since. I have no comment except for my summary: It is the best rendition of "Romeo and Juliet" ever put on the screen...period!...and one of the best movies directed and produced. By the way, I teach Shakespeare; and I believe the Bard would be impressed by this one.
Wusstest du schon
- WissenswertesSir Laurence Olivier agreed to play the uncredited role of the narrator, because he was so impressed with Zeffirelli's work for the National Theatre of Great Britain, of which Olivier was director at the time. Not only was Olivier the narrator, but as Franco Zeffirelli has also confirmed, he dubbed Antonio Pierfederici's voice (due to the actor's heavy Italian accent) as well as lending his voice to other anonymous characters. He did it all for the love of William Shakespeare, and didn't accept any payment.
- PatzerWhen Romeo and Juliet's bodies are laid out in front of the ruler, Romeo takes a deep breath.
- Alternative VersionenIn the film's original release, and on DVD, the "End Titles" music continues playing on a black screen after the closing credits have ended, much as "Exit Music" used to do in roadshow releases of films. As currently (2009) shown on cable TV, however, there is an edit on the soundtrack (not on the picture) during the closing credits, so that the music ends exactly at the same time that the visual portion of the film does.
- VerbindungenEdited into The Kid Stays in the Picture (2002)
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Details
- Erscheinungsdatum
- Herkunftsländer
- Sprachen
- Auch bekannt als
- Romeo y Julieta
- Drehorte
- Pienza, Siena, Tuscany, Italien(Piazza Pio II: some shots of the street brawl)
- Produktionsfirmen
- Weitere beteiligte Unternehmen bei IMDbPro anzeigen
Box Office
- Budget
- 850.000 $ (geschätzt)
- Weltweiter Bruttoertrag
- 6.292 $
- Laufzeit2 Stunden 18 Minuten
- Sound-Mix
- Seitenverhältnis
- 1.85 : 1
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