The Tragedy of Modern Media in Baz Luhrmann’s Romeo + Juliet | David Christopher - ar-cad.info
Baz Luhrman's William Shakespeare's Romeo and Juliet - a Review. Midway through this film is a pivotal event: the death of Mercutio at the hands of Tybalt. romeo and juliet baz luhrmann online dating Welcome to the Official Notts Youth Football League Website Keeping you up to date with the latest news, fixtures. ar-cad.info: Romeo & Juliet [VHS]: Leonardo DiCaprio, Claire Danes, John tapes: 1; Studio: Fox Home Entertainme; VHS Release Date: January 14,
As the channels change, we see the first credits: On the studio screen behind her is a broken wedding ring, with 'I love thee' inscribed.
From a close-up shot of 'Montague' tattooed into the back of a close-shaved head, we are quickly immersed in some turf warfare at a filling station between the 'Capulet Boys' and the 'Montague Boys': Act I scene 1, with much of Shakespeare's dialogue intact, but the action and style of editing soon tell us we are seeing a parody of two genres: Tybalt's entrance, for example, borrows from the 'spaghetti western' genre, the cliched scene of the 'baddy' making his first appearance.
There is a close-up of the match as it falls to the ground beside a black cat-spurred boot. Then follows the full panoply of effects from a modern action movie: The occasional slow-motion shot makes their moves seem balletic a reference, perhaps, to West Side Story? The fight itself is impossible: So rapid is the cutting that we soon recognise the parodic quality of the whole scene. In moments, a crashing orchestral chord accompanies a wide-angle view of the whole area igniting in flames Another reference, this time to Hitchcock's The Birds?
This is a key image: This is an opening, in its own way, quite as arresting and as involving as, for example, Olivier's to Henry V, or Branagh's to Much Ado about Nothing. Baz Luhrman signals his intentions immediately: Doublet and hose are now jeans and Hawaiian beach shirts; the streets of Verona are the beach frontage of what could be Baywatch; swords are handguns. Although a television news presenter has replaced the Chorus, both have the same function: The television set, the newsreader, the newsroom's screen graphics and the fast-paced editing of the fight sequence become a Brechtian alienation device, signalling that we are watching a form of documentary reportage: In his final words, 'all are punished', he pronounces 'punished' in the Elizabethan manner, in three syllables, with the stress on the '-ed', and then repeats it, vehemently.
Romeo + Juliet Opening
This offers yet another reference: The image pixelates into a television picture, and, as the camera pulls back, we see again the anchorwoman in her studio. She speaks to camera the final lines, which in the play are spoken by Prince Escalus. This is the 'wrap' for the item, the image fades, and the television recedes into the distance.
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By thus framing the story, our detachment is preserved. We end as we began: The opening sequence also invites us to read the film in the idiom of contemporary television drama, Verona Beach or Montague Place, as it were. A Capulet', and so on. Further, we register that the story is present-day and urban, the rival houses are now competing corporations, while the dominant statue of an ineffectual Christ is a frequently-repeated reminder of the power religion still has in the lives of these characters.
Both Shakespeare and Luhrman seem to have sacrificed what could have been an important source of suspense in the story: With a story this well-known, that would be pointless, anyway.
Romeo + Juliet () - IMDb
Much of the pathos in the play, and the carefully-contrived ironies which permeate it, derive from our foreknowledge of how the story will end.
We can maintain a degree of detachment from the lives of the protagonists, as we will do at the death of Mercutio, and as we have become inured to when watching the six o'clock news. The title prompts an obvious question - whose, other than Shakespeare's, version of the story did Baz Luhrman imagine we might think this film would be?
Perhaps Mr Luhrman is biting his thumb at the 'auteur' school of film criticism, wanting to deprecate the tendency to suggest that the director of a film is equivalent to the author of a book. This is probably necessary considering the production design of the film, which plainly shows that this is a director's vision very far removed from any notion of 'traditional' Shakespeare.
Contemporary Mexico City plays the part of a downtown L. A-style cityscape, a run-down, half-derelict urban setting, in which the Capulet mansion, opulent and ostentatious, is closely guarded and separate from the city it is part of. This is a detritus-filled, nigh-apocalyptic reinvention of Verona, one where prostitutes and their customers roam the beach front with a graffiti-covered wasteland behind them Romeo, we notice, has done some 'tagging' of his name around here.
This Verona has been transplanted firmly into a Latin American milieu. Water, then, seems to be another one of the many metaphors for love; transparent and pure and beautiful.
This is apparent when Romeo murders Tybalt, who falls into a previously unseen artificial pond. As Romeo absorbs the magnitude of his actions, a storm rolls in an actual hurricane, in fact, one that demolished the beach set. The sky opens up — water marking tragedy, love begetting violence. What to Watch Next As mentioned, Romeo and Juliet demands adaptations — and that demand has been well and truly met by filmmakers.
Leonard Whiting and particularly Olivia Hussey are excellent in the lead roles, but the film belongs to John McEnery, who plays Mercutio with a charismatic flair and intensity that outshines all competitors. His fateful dual with Tybalt Michael York is funny, thrilling and heart-breaking all at once. The cast looks impressive on paper, but even these talented thespians produce dismal work; only Paul Giamatti acquits himself respectably as Friar Lawrence.
Worth watching as an example of how not to adapt Shakespeare.
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Cheat Sheet To celebrate the 20th anniversary of iconic Australian movie 'Shine', we look back at the inspirational story behind the film, and its enduring themes. The only visual incident of the news media until sense of anonymity within a substantially larger populace. In the desolate wasteland of Mantua, in the opening sequences. Be merciful, say death; for exile hath more fire montage of news clips that follows the epilogue offers terror in his look, much more than death. There is no world without Verona walls.
The Verona Today headline reads to death and oblivion. The contrast between rapid media technology cinematographic styling already established in the and unreliable human messengers plays itself out in the opening montage of the film. The scene only information kept intentionally private. Luhrmann solves the inconsistency with it is so lacking in Mantua. While placing his narrative in a 20 While the information media accounts for only a Century urban setting, Luhrmann makes clear that it relatively diminutive part of the overall text, its visual might not be contemporary with the release date of the importance in the film pervades, overwhelms, and film in For example, the television which invades the action.
As the movie comes to a close, the broadcasts the framing epilogue and prologue is clearly images of Montague and Capulet lamenting the deaths of archaic. By separating the urban narrative from any their children slowly fade to the grainy television style specific time frame, Luhrmann explains away images from the opening montage. These stock images technological inconsistencies such as the absence of of Montague and Capulet were replaced with the image internet communications or cellular telephones which of the same newscaster that delivered the prologue.
The could have averted the tragic outcome. Friar demonstrates that any retelling of Shakespeare will carry Laurence cannot broadcast his information publicly and is within it messages that are only possible in the era in forced to rely on more conventional, and less effective, which the art is created.
In this case, one example of methods of communication. The overarching message seems to be an angels lives.