Romeo + Juliet

Here's a complete thought about Baz Luhrmann's 1996 film "Romeo + Juliet": Baz Luhrmann's "Romeo + Juliet" isn't just a retelling of Shakespeare's classic; it's a vibrant, modern reimagining that explodes onto the screen with a kinetic energy that perfectly captures the impetuous passion of youth. Set in the contemporary city of Verona Beach, Luhrmann translates the timeless tale of star-crossed lovers into a visually stunning spectacle that seamlessly blends Shakespearean language with contemporary pop culture.

The film's audacious style is its most striking feature. Luhrmann masterfully utilizes a hyper-stylized aesthetic, employing vibrant colors, MTV-inspired editing, and a pulsating soundtrack that blends classical music with contemporary rock and pop. This dynamic approach not only revitalizes Shakespeare's text but also makes it accessible to a modern audience. The iconic fish tank fight scene, with its underwater choreography and slow-motion bullets, is a testament to Luhrmann's innovative and visually arresting direction.

The performances are equally captivating. Leonardo DiCaprio and Claire Danes deliver electrifying portrayals of Romeo and Juliet, capturing the intensity of their love with raw emotion and palpable chemistry. John Leguizamo's fiery Mercutio is a scene-stealer, while Paul Sorvino's imposing portrayal of Don Capulet adds gravitas to the tragic story.

However, "Romeo + Juliet" is more than just a visually dazzling spectacle. Luhrmann's film retains the core themes of Shakespeare's original: the destructive force of family feuds, the power of love to transcend social barriers, and the tragic consequences of impulsive actions. The film poignantly explores the timeless themes of fate, free will, and the fragility of human life.

While some purists may criticize Luhrmann's liberties with the original text, his film ultimately serves as a powerful testament to the enduring relevance of Shakespeare's work. By translating the timeless tale into a contemporary language, Luhrmann has introduced a new generation to the beauty and tragedy of Romeo and Juliet, proving that Shakespeare's words continue to resonate with audiences across generations.

In conclusion, "Romeo + Juliet" is a bold and unforgettable cinematic experience. Luhrmann's visionary direction, coupled with stellar performances and a captivating soundtrack, creates a visually stunning and emotionally resonant reimagining of Shakespeare's classic. This film serves as a powerful reminder that even in a world of constant change, the timeless themes of love, loss, and the destructive nature of hatred remain deeply relevant.

The amazing thing about this movie is that it has managed to re-do Shakespeare's famous tragedy in a modern setting while still retaining its original dialogue. What's even more amazing is it works. I admit that I was a little apprehensive about seeing this movie, fearing that Luhrman had either destroyed the play's beauty and power by setting it in modern times, or had butchered Shakespeare's eloquent words by making them sound more modern. I was wrong. Almost everything about this movie is just incredible.

Luhrman brilliantly casted Claire Danes as fourteen-year-old Juliet. The actress certainly looks the part, with her youthful features and innocent eyes. More importantly, she acts the part. Ms. Danes almost flawlessly captures Juliet's distressing journey from childhood to womanhood, beautifully showing her dramatic transition which had taken toll on her during her five day relationship with Romeo. When the story begins, Juliet is a naive girl, having not yet experienced true love, and by the end we can clearly see just how much her love for Romeo has deepened in passion, and how dramatically her character has developed.

Leanardo DeCaprio's Romeo was almost equally impressive. Some of his recitations of Shakespeare made me cringe, but for the most part he was perfect. One of Romeo's most important characteristics in the play is the intensity of his emotions, and DeCaprio captures this feature incredibly. Romeo is brash and impulsive, with a tendency to act on the heat of the moment rather than to first consider the situation like the more levelheaded Juliet. This unfortunate characteristic, which played a huge role in leading up to the lovers' tragic fate, is wonderfully mastered by DeCaprio and retained throughout the film. But we also, like with Juliet, get a glimpse of his character's development. At the beginning of the play Romeo is a hopeless romantic who fantasizes of love, and seems to dwell more in his daydreamed world than actually on earth. At this point he has no idea what true love really is, he only thinks he does. It is not until he meets Juliet that he can begin to comprehend the true depth and passion of love. DeCaprio triumphs in this area as well.

The other actors are superb, and wonderfully portray their characters as Shakespeare intended. But what really impressed me was, as I stated earlier, the keeping of Shakespeare's original dialogue in Luhrman's modern setting. I know some people criticize this film for destroying the romance and beauty of Shakespeare's words by setting the story in modern day Verona, but I feel that it only made the film more romantic. What Luhrman did was both bold and brilliant, and he succeeded wonderfully.

I won't speak any more of the brilliance of this film, I just highly recommend you see it as soon as possible. If you're a fan of Shakespeare like me, I think you will enjoy this hip, yet still lovely, modernization of his most famous play ever.

This is the movie that established Baz Luhrmann was more than just Strictly Ballroom.

His second feature is a dazzling bold pop update. Set in gang infested, decaying Verona Beach. Romeo (Leonardo DiCaprio) and Juliet (Clare Danes) are the star crossed lovers.

Unfortunately their respective families, the Capulets and the Montagues are two rival corporate dynasties at war. It is bound to end in tragedy.

This is a frenetic, brash and imaginative updating. So it was a surprise that American critics seemed to be more sniffy with this movie upon release.

The audience and European critics lapped the movie up, despite some of the actors struggling with the prose.

This is not Shakespeare's best play, but it has his best poetry; that's because the play is ABOUT language, about the difference between what something is and the language used to describe it. So among the plays, this may be one of the hardest to film. But alas it suffers from another blessing which is also a curse: the story itself is so powerful that one can build any sort of film or play or whatever around it and have it be likely to work. Thus, we often lose the language.

Zefrelli made his own choices in the earlier film; these were relatively conventional. While it cut some valuable language, sacrificed to the gods of contemporary patience, it is by far the better version. But here we have some interesting choices.

First the setting. Italians to Shakespeare's England were a comical people, and his setting of the play there would have encouraged the audience to bring heavy stereotypes to the drama. Latins in his day were considered: Foppish: Quick to violence (a stereotype that has been inherited by blacks today, but to Londoners, Italians were nearly Africans): Incredibly proud especially as regards slights to masculinity: Obsessed with weapons.

Today, we roll those up under the relatively crude notion of stupid Latin macho. In this film, the director has exaggerated the Latin macho ethic to have the same effect 16th century Londoners would get. It works because these stereotypes are powerful memes which attract many hosts which perpetuate their underlying truth. Baz adds the additional dimension of the people being captured by the superstitious underbelly of the Church.

He deliberately straddles the border between apparent truth and satire. These Latins are superficial visually and not verbally. So here is the solution to the problem on how to make a film (which is primarily a visual medium) out of a play that leverages poetic language. The solution is to convert all the metaphors from language to vision. Hence the much-noted lack of poetry. I imagine Baz directing the players to not worry so much about the poetry.

Both Romeo and Juliet are incapable of performing the poetry anyway: they are children learning on the job. And what acting skill they have from film is all in the face, not the tongue. They are pretty enough though.

I like this film for its boldness. Some of the experiment works since we get the message of the difference between what we see and what is true. This is why Juliet has to see a LIVE Romeo at the end. Living under water is used to good effect. But in the real play, there are so many and such subtle explorations of the theme, and these are scoured away here for a few broad effects. The real message, which comes through loud and clear if you know the play (or even Zefrelli's film) is not the distance between the reality of events and the language, but the reality of the richness of the real play and this film. Equally vast. Equally powerful statement. So we have a playhouse with the back part blasted out to the sea.

As a separate matter, the play has three anchors: Mercutio, the Friar and the Nurse. These are handled interestingly here.

The Friar is an alchemical master hiding under the cloak of the Church. The play equates the magic of language with the magic of potions, equally deadly. The congruence is lost in this film, but Baz definitely gets the magic part as well as the superfluous ritual of the church. This friar is a terrific, memorable performance of someone who believes he can defeat nature. Serves as an anchor as intended.

The Nurse is the true domestic, raw nature, full of uncompromised loyalty but ultimately compromised. Her character is lost here. We NEED to know about the dead sister and why the nurse turns on Juliet in order to save her life. Baz fails here, and so provides no center. For Shakespeare, she's the white space on the palette.

Mercutio in the play is a emotionally engaged visionary mystic. We understand that Romeo and Mercutio studied magic (`philosophy') abroad together much as Hamlet and Horatio had. The dream they shared the night before is the axis of the whole action: rather like the magic of the witches in Macbeth. Baz gets this as well: Modern magic is what? Drugs. So Hamlet is given a psychotropic by Mercutio before going to the party. Works for me, because it allows everything to be visually blasted and inexorably tragic. The whole thing after the party is a trip, see? It is why they can meet, become entranced and arrange marriage after an hour or two. (Remember that until this point Romeo is hopelessly smitten by Roseline.)

Anyone who wrestles with problems of filming the Bard and comes out alive deserves my respect. This is a weird interpretation, but that's the point.

Baz Luhrmann's "Romeo and Juliet" is not your high school Shakespeare. It's a bullet-riddled opera of young love that has gone up in flames, and I loved most of it. The costumes and makeup were amazing. The settings were great, and the acting was immaculate. The only thing is that Luhrmann's style sometimes overwhelms the story. Leonardo DiCaprio brings raw teenage vulnerability to Romeo-his pain feels real, especially in the final scenes. Claire Danes starts stiff but grows into Juliet's grief with heartbreaking clarity. But the true standout is Harold Perrineau as Mercutio, stealing scenes with wild charisma and tragic depth.