Romeu + Julieta

This movie does an excellent job of combining Shakespearian dialogue with

modern imagery. Admittedly, I first watched this movie when it came out

because of Leo; eight years later (and seven years after middle school ended), I realize just how well-done this film actually is. Luhrmann did an excellent job of making the movie believable while using the quaint language. This movie

brings new life into the words of Shakespeare, and even if you know the play

almost by heart it is refreshing to hear the words in an entirely new context, and one which makes sense. This version of Romeo and Juliet actually does add

something to the extensive history of the play. The soundtrack is excellent, the acting is appropriate (Danes and DiCaprio do a wonderful job of portraying the young lovers), and the scenery is fabulous. This film jump-started the trend of modern-day Shakespeare remakes, and I think it's the best one.

It's not often that I've seen a movie three times and I can't give it a rating any higher then a 6.

I think I really tried and forced myself to like this since I can appreciate the modernization of this old story and the creativeness that was attempted.

Maybe it's unfair to say this movie is hard to follow. The dialogue is obviously a challenge for any inexperienced viewer but the story is familiar and each scene makes sense even if you're struggling to understand what each actor says. That being said, it's nothing special. Each time I finish watching this movie I just feel like it's ok. There is no gut wrenching impact it has left on me and I can probably affirmatively confirm this now after the third viewing. It's an interesting movie, a bold, perhaps unnecessary, punk-like remake that swaps swords with guns and also attempting humour. A part of movie history to say the least.

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 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.

Everyone is familiar with William Shakespeare's boy-meets-girl love story, and it has already been interpreted into films, plays, TV adaptations and songs. But Baz Luhrmann gives this world-known love story a modern-day twist, setting it in Verona Beach, and piling on the religious imagery. The result is quite spectacular.

Leonardo DiCaprio and Claire Danes play the star-crossed lovers, and, whilst the latter is sadly a little bland, never truly convincing us in her portrayal of Juliet's loss of innocence or torment of feelings towards the foe, DiCaprio completely redeems her performance. He is a revelation. His Romeo is a wonderful mix of sad eloquence, a loving heart and a troubled soul, and all these elements come together beautifully in a performance hotter than a pepper sprout, with more layers than the proverbial onion. He is the very embodiment of sexy in his role. There is an extremely alluring way in which his character is filmed, which only enhances Romeo as a lover. This is epitomized in the opening shot of him, where the Leo is illuminated illustriously against the sunlight, and Radiohead's languid, sexy tune "Talk Show Host" plays.

The film itself has "sexy" written all over it, and, with the Gen X teenagers as his target audience, I don't think Luhrmann would have things any other way. But, unlike with that atrocity Moulin Rouge!, with Romeo + Juliet, the over-stylization is appropriate, making the movie more accessible to teens, for example, through gun warfare rather than swordplay, and the canny symbolisation of Queen Mab as a drug. But perhaps the most ingenious stylistic technique here is the slap-in-face Shakespearean references, which range from a ball called the Merchant of Venice, to 'Such stuff as dreams are made on' from The Tempest, making the film an absolute goldmine for trivia fans.

Style aside, there is more than enough substance. Romeo is presented exactly as the play does – at first, the mawkish, gawky, lovesick teenager, then, the fickle boy, and finally, the devoted and caring lover, and much of this loyalty to the play is due to the screenplay from Luhrmann and Craig Pearce, which maintains the original memorable dialogue and descriptions, but also dares to stray from the sidewalk in some of the plot turns, and the film completely benefits from it. The set designs are intricate and beautiful, and suit every frame of the film perfectly, and the icing on the cake is the music. Craig Armstrong's score for the swimming pool scene is as stunning as it is original, and the use of non-original music, from Kym Mazelle to The Cardigans, give the film the added edge of cool, making Romeo + Juliet one of the boldest, sassiest and most unforgettable adaptations to date, and English Lit. GCSE has been made far more digestible for us kids across England. It's what Shakespeare would have wanted. A-.