Roméo + Juliette

Like many who saw this as a teenager, this was a movie that felt like the most sophisticated thing I'd ever seen, while also being accessible enough to my immature brain. And that's pretty much how I'm going to judge it today.

This is Shakespeare. It's as much Shakespeare as any other adaptation over the centuries. And yet Baz Luhrmann went in with a very specific approach, not only to modernise it while maintaining the poetic dialogue, but to also make it enticing for a teenage audience; the audience most arguably suited to the tale of Romeo and Juliet. It's chock full of the same hallmarks of modern day teen dramas; beautiful teens from wealthy families, sudden and passionate love affairs, with a dash of violence and murder, capped off with an emotional gut-punch or two. It's a tale quite literally as old as time: Star-crossed lovers finding each other against all odds, fighting to keep what they have against the forces around them, and the near-miss of longevity, like every Rom-Com airport scene. It's the type of story that has endured so long precisely because it appeals to us at the most emotional and vulnerable time of our lives, speaking to how we feel about the world around us. It's a hormonal barrage of narrative cues.

So Luhrmann takes this timeless classic, and decides to transplant it into a modern day setting to appeal to modern day teenagers. Or at least, the teenagers of the late 90s. You could probably trace a line from all late-90s fashions back to this movie, either creating the stereotypical aesthetic of the time, or merely doubling down and reinforcing it. This movie is garish. It opens with a newscast acting as the narrator, followed by quick-cuts and flybys of a city centre framed by two imposing skyscrapers, each with the name of a respected mafia-like family conglomerate plastered over the roof. Between them is a giant statue of Jesus himself, almost as tall as these skyscrapers. It's almost cartoonish in its aesthetic. We're then introduced to the Montague boys, clad in Hawaiian shirts left open to flap in the wind, riding a bright yellow topless jeep. They pull up to a gas station and encounter the rival Capulet boys, clad in dark blues and leather, with clean-cut facial hair and a menacing glare. If the Montagues gave the instant impression of good guys having fun, the Capulets give the immediate impression of brooding and serious antagonists. After an exchange of insults, they break out in a gun fight. The saturation is turned way up, the camera shakes and zooms uncontrollably, the editing cuts every second or two. It's beautiful and ugly all at the same time, as Tybalt, the Prince of Cats falls on his knees dramatically, pulls out his pistols, attaches an excessive sight, and takes aim at the fleeing Montagues. It's big, it's bombastic, it's completely lacking in subtlety. There's bright colours and shouting, and emphasis put on every footstep and gun cocking. It's so bad. It's so 90s.

Fortunately this style isn't maintained throughout the movie's runtime, but it never entirely leaves either. We get another frenetic array to the Capulet party, whereby a sexually-ambiguous Mercutio laces Romeo with Ecstasy creating a fever dream of visuals. And then there's that iconic meet-cute. The meet-cute to end all meet-cutes. And the movie slows to a halt. It remembers this isn't a story about the outlandish gang war between two mafia families, but a story about teenage love. Its garish and frenetic nature gives way to something more brooding and enthralling. Things turn serious, characters start dying, the prospect of marriage and a new life become real entities.

Judging this movie literally is a recipe for disaster. Literally it's an over-edited series of scenes full of shouting and bad judgment, about a young boy and girl falling in love immediately, getting married the next day, and then committing suicide over one another a mere four days later. Literally this movie makes no sense. It's ridiculous. But the movie knows that. It's painfully self-aware of how ridiculous this story actually is when you boil it down, so it embraces it. And this is why the prose was kept largely intact: It's poetry. The whole movie is poetry. This isn't a movie about plot points and character development. It's a movie about feelings and moments, about capturing that teenage urgency in a glowing, multi-coloured bottle. I know I had these moments as a teenager, where everything felt like the most important thing ever, where I fell in love with pretty girls without even knowing their names, where anger and joy, love and hate were all so painfully intense. Every scene is bathed in this intensity, including that opening of garish colours and overemphasised sound effects. It's a movie so chock full of hormonal energy it's intoxicating.

Leo is still a fairly young and inexperienced actor here, and his ego shines through his performance. He delivers his lines which such ferocity, like he too felt he was participating in the most sophisticated thing he'd ever done. But at this level his line delivery loses all emphasis, causing it all to merge into a mumble of Shakespearian vocabulary. That said, he's just about as perfect for Romeo as you could get. Claire Danes doesn't fare much better, seemingly struggling with the emotions of it all. It's like they were both put on auto-pilot while delivering their lines. Honestly I can't really blame them. Shakespeare's dialogue is in poetic verse, written for a different time with different dialects and slangs. We the audience are encouraged to just feel what's going on rather than follow and dissect every single word spoken. That said there are some genuinely fantastic performances her that prove that dialogue as outdated and wordy as this can be engaging and emotive. Harold Perrineau plays Mercutio with a fire in his eyes, like he poured over the script and accurately pinpointed which words needed more emphasis, and where he could embellish with gestures and intonation. John Leguizamo is also electrifying as Tybalt, grasping the over-the-top antagonism of his character and having fun with it, creating a whole new style of gun-fu to portray Tybalt's apparent fancy fighting style.

And of course, I couldn't talk about this movie without talking about the soundtrack, which gave us one of the best Radiohead songs ever written (which is a bold claim, I know). It captures the 90s the same way the rest of the movie does, with OK Computer-era Radiohead, Garbage, Des'ree, Butthole Surfers, and The Cardigans. It's rocky, it's ravey, it's as garish and frenetic as the movie's cinematography, and if you're at all a fan of 90s pop music, this soundtrack is a snapshot of that exact taste. Of course this ages the movie horrendously, but hey, we're approaching the time of 90s nostalgia, so now's the time to embrace it.

Romeo + Juliet is an interesting movie to judge, because it's a strictly terrible movie. The modern setting and 16th century dialogue goes together as well you'd imagine, despite some imaginative transpositions (like each gun's brand being a type of blade; Sword 9mm, Dagger .45, Rapier 9mm, or in the case of shotguns; a Longsword). It's so intensely bright and colourful, the editing so frenetic and hard to follow, and the story being somewhat nonsensical by modern standards, but its self-awareness makes up for it, making it all feel deliberate and purposeful. We hold Shakespeare up on a pedestal these days, as some form of high art, but in his time he was basically writing the best soap operas, aimed at entertaining the commoners (the exact same trajectory as actual operas, incidentally, which are nowhere near as sophisticated or intelligent as modern high society would have you believe). With that in mind, and Luhrmann's attempt to make what Shakespeare would've made today (in 1996), I think this movie nails every goal it aims for. It's pure visual poetry, encouraging you to feel the story than follow it intently, blasting you with the intense emotional highs and lows of hormonal teenagedom. I give Romeo + Juliet a bizarrely successful 8/10.

I wouldnt change a thing. The acting was beautiful, the scenery, the costumes, the raw emotion. The best version of this tale yet.

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.

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.

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.