Romeo & Juliet

This is the most recent in a series of Italian versions of Romeo and Juliet which starts with the 1955 film directed by Renato Castellani and the 1968 film directed by Franco Zeffirelli. They are all very pretty and this one is the prettiest, with extremely pretty scenery, a pretty Juliet and an even prettier Romeo.

That's about the best that can be said for it. Fellowes, the screenplay writer, has actually written some new scenes that are not bad examples of blank verse in the Elizabethan style, but they do not have the genius of Shakespeare, and the new scenes don't add much to the story. Replacing Shakespeare's words with his own, which he does far too often, invariably results in poorer and less interesting lines.

Unfortunately, the leads aren't persuading anyone that they are in love, and our attention is drawn instead to some good performances by the supporting cast, especially Damian Lewis's Capulet, which I think is the best performance by anyone as Capulet on screen ever.

So, generally, apart from Lewis, you are much better off watching Zeffirelli's film.

From time to time, a film director decides to adapt Shakespeare's plays. In all fairness, it's great stuff and deserves to be taken to the screen. However, when this happens, the people (particularly those whose mother tongue is English) don't like it and have great difficulty in understanding that, when a book is adapted to cinema, it has to be adapted or adjusted. Its a necessary job, and does not spare any book or author. It can be hard to accept, especially for the purists, who see Shakespeare as a kind of untouchable "sacred cow", but the truth is that cinema can be based on literature but its not literature. I say this because I realized that this film was the target of massive criticism for the way the book was adapted. The writers were so incompetent? They cut something important to the understanding of the story? They have profoundly altered it? No. But they sought to adapt the text a little, for dramatic purposes. The essential was there, untouched, and this does not shock me. This is cinema, not theater, and people have to understand that the public goes to the cinema to see a movie, not a recorded play. Do you want the original text, ipsis litteris? Read the book or go see the play. Cinema is concerned in keeping the story, not the text. Almost all movies are so, this is no different. Now let's talk about the movie.

The movie is interesting, keeps the essence of the original story, but changes the dialogues and interpretation, abandoning the artificial tone of Shakespearean theater and taking a more natural posture. The idea is good, its a breath of fresh air, but I think the posture adopted is too "XX century" and something is missing in the way the characters act that remind us the fifteenth century. One of the most reprehensible things is the amount of kisses and touches. This does not fit the historical period depicted, much more puritanical than ours. The actors did a decent job, engaged and committed to the story itself. Douglas Booth was by far the best Romeo I've seen in the movies, much more credible than Leo was in "Romeo + Juliet". Hailee Steinfeld was not bad either, but her acting has seemed a little forced in some scenes. Everything else is absolutely impeccable: the bright, colorful picture is magnificent, in harmonious combination with the great scenery and locations chosen for filming, and that depict faithfully what have been Verona during this time. The costumes also fit into the historical period and are exquisite. The soundtrack, discrete but present, fulfills her role with great skill.

Far from being a bad movie, this movie will never be understood by the public who are not able to see the difference between literature, theater and cinema. Despite some minor flaws, the film is well done and does not deserve at all, in my opinion, the severe criticism it has received.

Of all the clever-clever barbs fired at the 2013 "Romeo and Juliet", "Shakespeare for Dummies" has probably given the film's detractors the most satisfaction. But, as anyone who has read my user reviews of the 1940 "Pride and Prejudice" and the 1999 "Mansfield Park" will quickly realise, I am no purist as far as literary adaptations for cinema are concerned. I suppose therefore I must be something of a dummy, but a dummy who would like to take the floor to confess to finding this recent version of literature's most famous youth-love-death cocktail rather wonderful. Not that it hasn't been well done before. I haven't seen Castellani's but Zefirelli's later version was a thoroughly worthy attempt, certainly of a standard to raise a question as to whether further interpretations were needed. I experienced serious unease fuelled by all those truly awful reviews before even the opening credits. Give it half an hour perhaps. Not that it started particularly well. A horseback contest between a Montague and Capulet reminded that we might well be entering "Ben Hur" country with all the boredom of that gargantuan epic. I suppose it was the entry of Douglas Booth's Romeo chipping away at a stone figure of Rosaline, his current love, in an artist's workshop that raised more than a glimmer of interest. Was ever a portrayer of the role more handsome! And this coming from a pretty 'straight' viewer! Just imagine his effect on all those Juliets in the audience! I have to admit to finding him the more engaging partner, hardly matched by a no more than pretty Juliet, who rather gabbles her lines and is, well, little more than average school dramatic society material. By now I am aware that I am hardly writing a review of something of a terrific film, so what makes it so outstanding? It can be summed up in the one word - passion. This version concentrates on the lovers to the exclusion of much else such as the groundings humour of Mercutio here played absolutely seriously as is Lesley Manville's pragmatically intelligent Nurse. For once,in Paul Giametti's outstanding portrayal, we can really feel the tragedy of Friar Lawrence's ghastly misguided solution to saving the young lovers which serves to drive the action forward to those tragic deaths presented with such moving intensity. It all culminates in a truly great moment when the young Benvolio clasps the dead lovers hands together. Not Shakespeare but nevertheless a masterstroke. As a bonus we are treated to beautifully shot locations. At one point where the lovers depart from one another on a riverbank the image is ravishing. The main quarrel of its detractors seems to be copious liberties with the playwright's text. There is no question but this is an adaptation in the same way as Kurosawa's "Throne of Blood" and "Ran" both of which are reverenced by cineastes yet contain not a line of Shakespeare. Why all the furious reactions to this version? Remembering the derision than was heaped against Powell and Pressburger's marvellous "Gone to Earth" when it first appeared in the early 1950's but has now achieved deserved recognition, I put it that Carlo's Carlei's "Romeo and Juliet" is possibly a film before its time. Sadly I shall not be around in a few decade's time to say, "I told you so."

If Hailee Steinfeld is in a movie then I will definitely see that movie. The young actress made an impressive debut in True Grit (2010), but then took a 3 year break from acting. In 2013 she had a role in Ender's Game, a science fiction action thriller that's definitely worth seeing. She also had a role in Romeo And Juliet, a straightforward film adaptation of William Shakespeare's romantic tragedy that works thanks to the actors and the screenplay. Julian Fellowes wrote a screenplay that makes the film interesting for a new generation of viewers. Changing some of the play's dialogue may be unacceptable for some people, but what we get here is a manageable story with the poetic dialogue intact. It works well in the film. Carlo Carlei can be praised for his direction because the film doesn't lose pace or interest. Carlei makes the dramatic scenes work, especially at the end when Romeo Montague and Juliet Capulet have to make difficult decisions because of unfortunate circumstances. The cast deliver the dialogue well. Steinfeld was 17 when the film was released, but she projects maturity and makes Juliet a tragic figure. Douglas Booth allegedly beat out 300 other actors for the part of Romeo. He's 4 years older than Steinfeld, and the romance between the two isn't as good as it should be, but they are an appealing young pair. It's Paul Giamatti, playing Friar Laurence, who's most comfortable with the poetic dialogue however. I like that Romeo And Juliet was filmed in Italy, including in Verona, where Shakespeare's tragedy is set. Franco Zeffirelli's terrific 1968 film was a big hit with a similar approach to the material. Carlei's Romeo And Juliet wasn't a repeat of that phenomenon but it's still a solid film that can easily appeal even to teenagers. I recommend it.

"For never was a story of more woe Than this of Juliet and her Romeo." Count Paris (Tom Wisdom)

The "woe" in this umpteenth adaptation of Romeo and Juliet over the last 400 years is that the titular lass, as played by Hailee Steinfeld, is weakly acted with immaturity, poor elocution, and disappointing physical presence. Add to that another woe: Douglas Booth's Romeo is prettier than Steinfeld with only slightly better articulation.

So, the outdoor production I saw this summer outflanked director Carlo Carlei's uneven take. However, for sets and cinematography, his production is beautiful, having been lovingly filmed in Verona. The ancient estates are astonishingly effective as horses race past old bricked walls and lovely ladies act beneath frescoes and columns that boast of nobility.

Yet the real reason to see this new production is Paul Giamatti's Friar Laurence, a benign manipulator undone by forces beyond his control. Giamatti's range from sweet confessor and cupid to perplexed operative is masterful. Look for his Oscar nomination for best supporting actor.

Lesley Manville as the Nurse is second only to Giamatti, a loving servant with a twinkle and a deep understanding of the lethal games. In fact, most of the supporting players such as Damian Lewis's Lord Capulet are welcome pros next to the amateurish leads.

The film, while featuring the besieged friar, also does a successful job highlighting the egregiously intense hormonal urges of young men: Tybalt (Ed Westwick) and Mercutio (Christian Cooke) have the feral ferocity of doomed warriors. Even the more placid Count Paris is waiting to let his inner soldier take over in the revenge category.

Writer Julian Fellowes bastardizes some of Shakespeare's glorious dialogue (why would anyone try to improve on the best?) and even adds rogue lines, albeit in the Elizabethan mode, such as "The road to hell is paved with good intentions." Now that is not Shakespeare!

But the basic story is still the essence of intelligent soap opera, and for its endurance, even with weak leads, I am grateful. And that cinematography makes me long to return to fair Verona.