Romeo and Juliet

Yes, this film has been overpraised by Pauline Kael and others. For its time it was revolutionary, because no previous Shakespeare film had used so many outdoor, realistic locations. Unlike the previous MGM version (which all in all is superior), this version did not use middle-aged actors and made splendid use of technicolor. Black and white cinematography may suit MACBETH, HAMLET, KING LEAR, and other Shakespeare trajedies--but not this one. Since 1954, however, it has been remade in more cinematic and dynamic versions.

Nonetheless, it's a very worthwhile movie, especially for Shakespeare fans. I personally think Laurence Harvey is a terrific Romeo. Yes, he's a bit of a simp, but that's the character. In fact, Harvey is the screen's best Romeo; he's a lot more passionate than Leslie Howard in the MGM version, and he speaks the verse better than either DiCaprio or Leonard Whitting in the two subsequent versions. The locations, better than any version, remind us of just how thin the streets were in Verona during the time of the play, and the high, thick, stone walls serve as a symbol of the intransigence of the families.

Yes, it does have shortcomings, but don't dismiss its virtues, which are many, especially to those of us who want more than the MTV-type Shakespeare that the DiCaprio version offers.

Castellani presents his neo-realistic view of WS's tragedy. Never have the personalities of the two lovers been so intensely portrayed in the screen. Susan Shentall conveys all the fire of the first love and the impending tragedy that will follow it. Laurence Harvey, though not the ideal match (as far as age is concerned) for Shentall's Juliet, manages to pass Romeo's brash, passioned nature. The great Robert Krasker's photography is the work of a consummated master: each picture frame reflects a Renaisssance painting, as well as the sets (all original ones in Venice, Padova, Verona and Siena), costumes and the décor. The best names then available in those fields in Europe were recruited to recreate what Romeo and Juliet's Verona should have been. The result is a joy to watch and is worth the movie. The ball scene alone could receive all the prizes this film was awarded in the 1954 Venice Film Festival. Roman Vlad's use of an Italian medieval gagliarda as the film's dominating musical comment is a lesson in itself. When compared to Castellani's masterpiece, all other versions seem like pale, unfocused, poor readings of WS's immortal tragedy. Hope this film will soon be available on DVD.

The Blu-Ray version of the Castellani "Romeo and Juliet": this is one of the greatest movies of all time. Castellani was surely not a Visconti nor a Rosselini, but his "Romeo and Juliet" is absolute perfection. However, this Blu-Ray incarnation is a disaster. The glorious cinematography (Robert Krasker) is disgraced by a white-washed remastering. The ball scene is completely distorted. The colours that were once a magnificent succession of Renaissance paintings now appear irritatingly blurred. And - alas ! - there is more: subtitles are frequently a gross distortion of the original text - e.g.: in the DVD version the master of ceremonies at the Capulet's ball announces that "... the musicians of Saint Jerome will now play..." In the Blu-ray captions read ..."the musicians of CENTER ROME will now play...". Ghastly. Also, many dialogues are not transcribed, and one frequently bumps into an "a" or a "the" in capital letters in the middle of a sentence. The whole transcription is absolutely amateurish. Therefore, keep your precious DVD of this masterwork and forget this third-rate Blu-Ray.

Handsome, leisurely-paced, ineptly cut, often badly acted (especially by Laurence Harvey as Romeo, surprisingly) version of Shakespeare's most playful and youthful tragedy. Much of the film's charm lies in the creation of sumptuous tableaux in the tradition of Italian Renaissance painting, and the portrayal of Capulet is a marvelously acted stereotype of the fat, crude nouveau riche Italian patriarch; but Harvey (despite a few promising moments early on) is far too effusive and unctuous, creepily reminiscent of John Dall in Rope; Susan Shentall displays admirable coyness and gusto in the "overture" of the dance and courtship scenes, but stiffens and is stifled by the death of a thousand cuts toward the end (although almost nothing is cut from the first act). Still, aside from some ghastly, somnambulistic line readings, the film often dazzles with its feeling for the music of Shakespeare's text; the Nurse's folkloric shanty is highlighted with musical settings (shadings)-- Flora Robson is delightful in the role; the vaguely rappish banter of Benvolio and Romeo's first scene is gracefully and intelligently played. The presentation of the episode of losing the letter due to the Plague is a brilliant use of cinema to bring out embedded narrative in Shakespeare. The near-interchangeability of the actors who play Benvolio, Tybalt and Paris is regrettable.

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.

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.