Romeu e Julieta

This lavish British-Italian production about ill-fated and star-crossed lovers deals about the Montagues and Capulets, two feuding families whose young sons Romeo(Laurence Harvey) and Juliet (Susan Shentall) meet and fall in love and whose passion for one another is irresistible . But Juliet's father(Sebastian Cabot) wants marry her to a rich suitor (Norman Wooland) and keep apart Romeo.There are many obstacles on the way and they have to hide their love from the world because both know which their parents will not allow them to be together.The prince of Verona has prohibited duels and fights, but Tybaldo Capulet (Enzo Fiermonte) kills Mercutio and Romeo Montague as revenge murders Tybaldo. The priest friend (Mervyn Johns) prepares a potion for Juliet to simulate her death. Then Romeo is banished to Mantua when he receives the news that Juliet has dead, and happen their tragic destiny.

This is one of the best filmed and most pleasant adaptations of Shakespeare's play. Lush production and well-performed, though is handicapped because the two protagonists are too old for the roles , but at the play they were fifteen and fourteen years old respectively .This sumptuously version has the virtue of good and appealing casting , Laurence Harvey , Flora Robson , Mervyn Johns,Bill Travers and a brief introduction by John Gielgud. Exquisite cinematography by Robert Krasker, a cameraman usual of costumer and historical super-productions (Alexandre the Great , Cid , Fall of the Roman Empire) . Hauntingly wonderful musical score by Roman Vlad .The picture was professionally directed by Renato Castenalli, made in Pinewood Studios and Italian location . Anyone interested in tragic love tales and timeless stories will want to watch this cinematic version on Shakespeare tragedy.

Other versions about this know story are the following ones : the vintage classic, Romeo and Juliet (36)by George Cukor with Norma Shearer and Leslie Howard ; a dancing adaptation (1966) by Paul Czinner with Rudolf Nureyev and Margot Fonteyn ; famous rendition (1968) by Franco Zeffirelli with Leonard Whiting and Olivia Hussey ; and modern versión (1996) by Baz Luhrmann with Leonardo DiCaprio and Claire Danes .

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.

Renato Castellani's ROMEO AND JULIET has somehow fallen into a hole in film history. Despite a handsome production with some worthy performances, it is overshadowed by Franco Zefferelli's 1966 film and even the 1936 MGM movie with Norma Shearer, Leslie Howard, Basil Rathbone, and John Barrymore. One has to wonder why - it was the first version of the movie to be shot (or partially shot) on locale in Italy in color. While the leads are not the proper juveniles that appeared in the 1966 version, Lawrence Harvey and Susan Shentell were closer to the ages of the characters than Howard and Shearer were.

My guess is that it's very reliance on Italian movie production may have been a drawback to the audiences who (unfortunately) counted the most: English - speaking ones. The leads were all English and the basic play (despite the Italian setting) was in English by the greatest writer of the English language. If it had been filmed in England I suspect it would have had more acceptance. But this is a guess. There could have been other factors: bad timing due to more overpowering productions. Orson Welles' had completed and released OTHELLO in 1952 (where it, like this ROMEO AND JULIET, won a prize at the Venice Film Festival). The following year Lawrence Olivier's masterly RICHARD III was released. The failure of the Castellani movie remains striking and puzzling.

Today Zefferelli's version is considered the best one by most viewers, because of his making his hero and heroine what they are: growing teenagers. But one should not sneer at Harvey's attempts at Romeo opposite Shentell's Juliet. They do generate a soft glow between them that gradually picks up heat. I might add that I found Shentell's final suicide rather stark and complete as it should be. Whether due to her acting or the director's direction she gave Juliet's passing a type of dignity I have rarely seen.

As for the performers in the cast, Sebastian Cabot's Capulet is the picture of an Italian Renaissance merchant prince type, corpulent and ruthless towards his family's foes. It's funny thinking of Cabot today as a villain in his roles, but in fact (prior to his going into CHECKMATE on television - where he was the wise spy master of the heroes) most of his film parts were villainous, or (as in THE TIME MACHINE) ridiculously self-important. His belated affability appeared only when he lucked out and became "Mr. French" in FAMILY AFFAIR. So here, a 1954 audience in the know, would have had no problem about his rattlesnake - eyed timing in planning the demise of Montagues. Look at his scene at the ball he is throwing when Tybalt (Enzo Fiormonte) wants to kill Romeo, but Cabot restrains him - adding that it can be done later.

Also note Mervyn Johns as Friar Lawrence, who manages to show the all-to-human side of the good man, which enables so many bad things to occur because of his trusting the wrong people (one messenger is locked up because he is stuck in a quarantined house), or his instructions were not clear enough. Johns was a gifted actor in his own way. Most people remember him as gentle, loving Bob Crachit opposite crusty, nasty Scrooge (Alistair Sim). But he was also the bedeviled and doomed architect in DEAD OF NIGHT, and the equally doomed partner of the ruthless Spencer Tracy in EDWARD MY SON. Johns was a fine character role player, and was lucky to pass on his skills to his daughter Glynnis.

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.