Romeo and Juliet

There are certain indispensable elements for a great Romeo and Juliet: youthful, energetic lovers; a brilliant Mercutio and irrepressible Nurse; and crisp pacing. Castellani's version fails on all counts. Take pacing. This is a tragedy of timing; the story unfolds over 4 days of desperate urgency. Yet Castellani's screenplay DRRRAAGGSS, interrupting key scenes with tedious stage business. Take the opening brawl: instead of escalating rapidly, it *stops* while the Capulets lug home the body of a servant, women wail, etc. Who cares about the servant? When do we get to the real action? Similarly, when Romeo opens the tomb, Castellani has him stop, walk all the way back outside, find an appropriate tool, and then start over. What a waste of screen time! It's dismaying that these unnecessary scenes are added at the expense of some of the play's best material. A high point in most productions is Mercutio's Queen Mab speech yet Castellani omits it! All directors make cuts, but why this key speech? Castellani seems to think little of Shakespeare's language, preferring his own dialogue. That's right; he cuts Queen Mab but adds vapid filler for Rosaline and other minor characters. Did he really think no one would notice? As for the actors, Susan Shentall sleep-walks through most of her scenes, but after two hours of Lawrence Harvey's plodding monotone, I can't blame her. These actors can't even summon the energy for a proper swordfight; Tybalt merely stabs Mercutio, while a bored looking Romeo bashes Paris over the head. Where's Basil Rathbone when you need him?

This production is often praised for its lush costumes, picturesque Italian locations and cinematography reminiscent of Italian paintings. It's pretty as a picture, but equally lifeless.

Even though the colour and the impressive location scenarios work really well here, the rest of it rather falls between two stools. It lacks the intensity of a stage play and the acting talent assembled - Flora Robson and the underused John Gielgud notwithstanding - is really quite underwhelming. You'll recall the story of the feuding Montagues and Capulets that sees true love emerge from centuries of slaughter and mayhem. It's "Romeo" (Laurence Harvey) who falls for "Juliet" (Susan Shentall) and they must keep their burgeoning romance under wraps for fear of all hell breaking loose. That's becoming harder and harder but as the story unfolds it also becomes much less engaging to watch. Harvey never was a particularly versatile actor and there's virtually no chemistry on display between him and the almost as wooden though maybe a bit more suitably virtuous Shentall. It's very much a lacklustre ensemble effort with few of the originally quirky and notable characters standing up to much scrutiny and somehow Renato Castellani has striven to create something here that belies it's credentials as one of literature's greatest and most enduring love stories. At times, it is almost little better than a very well choreographed and photographed soap. Every now and again these re-imaginings of Shakespeare's works come along, but this one is unlikely to be one anyone remembers too fondly.

Of the several different cinematic adaptations of ROMEO & JULIET that are out there, this version has always been my personal favorite since I first saw it in the early 1970s. The Franco Zefferelli production has that distinction but if you've never seen this one, then you should definitely give it a try now that VCI has given us such a gorgeous looking anamorphic transfer. For years I have had the old MGM VHS tape which I will now gladly donate to the local thrift store where there are still customers who use VHS. There's no need to go into the story since everyone knows that, so I'll focus on what it is about this particular adaptation that I enjoy so much.

First are the locations. The film was shot on location in Verona and other Italian cities in such a way as to resemble Renaissance paintings thanks to the skill of legendary cinematographer Robert Krasker (THE THIRD MAN) who shows here that he can use color the way he used black and white in that classic film. Second is the score by Roman Vlad which is written in the style of music of the period. A galliard which serves as a motif throughout the movie is memorable and effective. Last but not least are the performances. Laurence Harvey, 26 at the time, gives the best line readings of any screen Romeo I have ever heard. Some find his Romeo too effiminate but that will always be a matter of personal opinion. Susan Shentall is not the ideal Juliet but she is more than adequate and her death scene manages to be quite moving. Add character players Flora Robson, Bill Travers, Mervyn Johns and Sebastian Cabot to the mix and their characters spring to life.

Italian director Renato Castellani creates an ideal balance in his movie with a theatrical staging that flows cinematically. The style of dialogue delivery is old school Shakespeare which will seem overly mannered to today's younger ears but you can understand every word and, after all, it is a play. My one complaint is that the English subtitles (handy in Shakespeare) are out of sync after the first 30 minutes appearing a few seconds before the characters speak their lines and then disappearing too quickly. Nevertheless it is great to finally have this R & J on DVD and Blu-Ray where it will now reach a new audience who can see it for themselves and make their own comparisons with other versions. This release is part of a series from VCI of classic Rank Organisation films and about time too!..For more reviews visit The Capsule Critic.

A friend of mine lent this film to me, because I'm doing research before directing the play. I've now seen about 9 different productions, and while the production is handsome and offers some interesting scenes to try and move the plot along, it features costumes woefully wrong for the period. The interpretation of the text is probably as good as it can be, but huge chunks of dialogue, including the Queen Mab Speech are cut, and Mercutio, always a vivid character, has been reduced to a few lines and an unimportant character. Sebastian Cabot is marvelous as Capulet, and Flora Robson offers some fine moments as the Nurse. Susan Shentall's Juliet is not bad, but except for occasional scenes, Laurence Harvey is phoning it in. I don't completely hate this one -- that would be the Baz Lurhmann disaster, but in comparison, while I've always loved the 1968 Zefferelli version, I'm seeing it from different eyes now, and as I watch the 1936 MGM production, I'm liking the interpretation of the text in that far better than the 1968. This film is an interesting artifact, but it's not especially inspirational. Enjoy it for what it's worth.

This film version created by Renato Castellani is a beauty to behold.

In the picturesque settings of Siena, Padova, Verona and Venice, this romantic tale unfolds in glorious color.

While the character interpretations may appeal to a select number, I appreciate the total concept and the carrying out of that objective.

"Romeo" takes on a stylistic life of its own through Castellani, and for those willing to go on his journey, the rewards are great.

Mr. Harvey is interesting to see in an early role. As always, his work is very well thought out, and the aloofness which made him so right for callous young men in later modern roles, is intriguing here. Romeo now has a tinge of egotism and even femininity.

Well, why not? As there are dozens of ways to read a line, so there are many approaches to a character. There's nothing inherently sacrosanct in the role of Romeo, and Harvey interprets the way he (and Castellani) sees him, rather than according to some staid traditional model.

It's hard to believe this lovely production has not yet been transferred to video. Surely one day some enterprising company will take on this project and help preserve a very beautiful production for future generations to enjoy.