Romeo and Juliet

I saw Romeo and Juliet at the Odeon Leicester Square, the day after the Royal Premier and from that day I was hooked on this film. I went back three times with different sets of friends just to watch it again and each time I enjoyed it more. Now owning it on DVD when I want to just feel good about films I watch it!

So much has already been written about the youth of the two young unknown stars and the chemistry that they had on screen that I don't need to repeat it now. However the key to this film's great success was that it was visually stunning, Zefferelli is the master of using colour, setting and costume to great effect. He was so clever in his casting, not just with the very handsome young Leonard Whiting who at the time when I was only 18 myself I thought was gorgeous but also the innocence of an immature Hussey was perfect. A master stroke was Milo O'Shea as Friar Lawrence, never ever has there been a better role for this talented by rarely seen Irish actor.

It's pointless complaining that the text is cut, by leaving out Romeo killing Paris and also the apothecary selling Romeo the poison in no way detracts from the overall imagery and beauty of Shakespeare's text. To have made the film using the whole text would have been too difficult and perhaps Zefferelli did want to portray Romeo as a little nicer than he actually was. In truth he was a fickle young man as all teenage boys can be and also prone to an amount of passionate violence so prevalent in adolescence. But this was Italy in Tudor times when life was cheap and the willingness to reach for the sword was as it should be.Shakespeare understood human nature better than anyone and that's why all his plays show so much insight into the human spirit.

Zefferelli balanced the film perfectly, nothing was overdone. He combined the tragedy with the humour as well as the love story by casting the right actor for each role and even if some of them faded into oblivium later, for this film they were all perfect. I never want to see another version. Baz Luhrmann's pales in comparison and thats not a bad film.

Come the Oscars I waited with baited breath having convinced myself that it would get best film - I was so disappointed!. It did collect Best Costume and I think Best Cinematography, but what a travesty, especially when the film that did win that year was not even in the same league and is hardly ever remembered. It's always very difficult to succeed with Shakespeare on the big screen but this version of Romeo and Juliet had it all. Only Kenneth Brannagh's mammoth production of the uncut version of Hamlet comes anywhere near this wonderful film.

How Nino Roto's soundtrack also missed out on an Oscar I will never understand. Footnote: Luciano Pavarotti has recorded the main love theme and it's called Ai giochi addio - it is so beautiful it will make you cry as you remember the film.

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.

To my way of thinking, this film should be considered when people discuss the greatest movies of all time. Every scene, practically every frame of this movie is brilliant. Director Zeffirelli went against the ancient practice of using older actors in the title roles, and the performances he elicits from teenagers Whiting and Hussey is amazing. Although he trims the dialog heavily in places (Romeo says, "But soft, what light through yonder window breaks?"- and leaves it at that) his version captures all the passion of Shakespeare's play magnificently.

The scenes at the Capulet's ball at which the two young lovers meet are about the greatest I've ever seen on screen. The famous balcony scene avoids cliches altogether and makes others pale by comparison. The Queen Mab speech, the fight, and the scene in the tomb are all exquisite highlights of this film. Even the dubbing for the Italian actor's voices and of the crowd noise is superior. It is amazing to me that an Italian could be so sensitively in tune with one of the English language's most sublime works.

Zeffirelli wanted to make a movie that spoke to youth and he succeeded, to put it very mildly. If school systems were smart, they'd pack up their freshmen and sophomores on buses every year, drive them to a local theatre and show them this movie. I can't think of a better investment in young people's education that could be made. It worked for me.

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.

This was the first time we actually saw the teenage love Shakespeare intended. Years and years before Leonardo Di Caprio and Clare Danes, Leonard Whiting and Olivia Houssey gave life to the tragic story told in this ancestral tale, revamping it without betraying it, making it accessible to a 60s audience without updating it. Leonard and Olivia were so beautiful that Shakespeare became trendy again and I don't mean any disrespect by it, I'm simply stating a fact. The real, stunning, dusty locations, the costumes, the faces, the music made the whole thing a totally new Shakespearen experience. Remember than the biggest screen adaptation of this play had been with the forty something Leslie Howard and Norma Shearer in those roles. Here everything reeked of youth underlining the tragedy in the most cinematic way. Another important point is to confirm that in 2007 the film still feels young and fresh. Recommended