Two directors, (Franco Zeffirelli and Baz Luhrmann), alike in dignity, forge a motion picture of splendid taste. One ancient view of love to one modern, from Shakespearean play it is based. From forth these remarkable lines, they say, is the moment true love is on display. The two star-crossed lovers make their haste, to say the words that in public disgrace. But, both these directors have their own view, on what they want love to mean to just you. Comparing, contrasting, how they differ, these films are both great, not one clear winner. Both serve a wealth of pure satisfaction. Get ready, get set, LIGHTS! CAMERA! ACTION!
Franco Zeffirelli directed a traditional film portraying Romeo & Juliet like the classic forbidden romance Shakespearean connoisseurs would gobble up wholeheartedly. Zeffirelli utilized tools that he could take advantage of to depict his view of Romeo and Juliet’s love. Lighting, camera, and movement are some tools that help develop this scene. The set was radiating with endless moonlight; shining on the actor’s face on some opportune close-ups. It creates a sense of angelic like qualities; especially on Juliet when she is speaking to the hidden Romeo. The enormous set, filled with an inexhaustible amount of moonlight peaking through the high fake tree, also had a towering castle, accompanied by a giant wall, that deeply signified the laborious effort that it would take Romeo to scale the wall to finally be close again to Juliet. Zeffirelli additionally applied long camera shots to illustrate how exactly distant Romeo and Juliet are, and their longing for closeness. Juliet was on her high balcony in the top left of the frame and Romeo was on the ground in the lower right. Further symbolizing the distance between ...
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...makes it debut as Romeo sprints and scales the convenient placed ladder trellis to finally give us the final kiss the viewers were longing for, after the marriage plans. The balcony scene did have a balcony in it so Zeffirelli buffs can’t totally bash on Luhrmann’s take on Shakespeare’s classic tale.
Zeffirelli and Luhrmann are two very contrasting directors with very different tastes. The two movies are comparable in the aspect of being based on Shakespeare’s Romeo and Juliet, but reveal their version of love in polar opposites. Luhrmann thrusts the movie into the modern spotlight. It is more relatable, even enjoyable, taking Shakespeare's script and supplying a well adapted motion picture for the younger generation. Although, Zeffirelli conveyed what would have been the best adaptation of Shakespeare gaining yet another, final round-of-applause from The Bard.
Comparing Zefferelli's production of Romeo and Juliet with Luhrman Production. In this essay I am going to write about the production of Romeo. In Franco Zeffirelli's production of Romeo and Juliet, the setting and language are of a traditional, realistic nature. This is complete.
Romeo and Juliet is a play about two lovers who have to risk their lives in order to demonstrate their love and will to stay together, regardless the feud between their families. By the end, the death of Romeo and Juliet finally bring the reconciliation to these two families. It is fate that the two most shall-not meet people fall in love and it love that eventually won against hatred. Since then, there have been many different versions of Romeo and Juliet, whether it was for film, stage, musicals. These different recontextualised adaptions change the original play by many ways, some modernise the language, environment, props as well as changing the original characteristics of some characters. Out of all the different adaptions of Romeo and Juliet, two stood out the most. One was the Romeo and Juliet (1996) and directed by Baz Luhrmann and the other one was Romeo and Juliet Broadway (2013) play version,
One of the most celebrated plays in history, “Romeo and Juliet”, was written by William Shakespeare in the late 16th century. It is a story about two lovers that have to meet in secret because of an ongoing family feud. Tragically, because of their forbidden love Romeo and Juliet take their lives so they can be together. In 1997, a movie was adapted from the play “Romeo and Juliet”, directed by Baz Lurhmann. However, as alike as the movie and the play are, they are also relatively different.
middle of paper ... ...peaceful; the only light we can see is coming from the pool and the fairy lights which are near the balcony, this sets a very romantic mood for Romeo and Juliet. The lighting in Franco Zeffirelli’s film is very subtle; the only source of light that has been used is coming from inside the Capulet. residents from other rooms. Again the lighting is very important and it is dim and you cannot see a lot, which makes it more interesting. and romantic for Romeo and Juliet.
In Act II, Scene two the Balcony Scene where romeo and Juliet finally protest their love toward one another and see that they are in true love. This is one of the most important scenes because it show the love and a bond forming between the two young lovers. In the movie there were some differences and similarities. Some of the similarities are that the movie did stick with Romeo Leaving his friends behind at the part to go find Juliet. As well as the part of Rome jumps over the the Capulets garden steep wall. But there were a couple but not a whole lot of
Romeo and Juliet is a play about two adolescents—Romeo and Juliet from two hostile families fall in love with each other. This prohibited love ultimately turns into a romantic tragedy, in which they commit suicide for each other. Both Franco Zeffirelli’s (1968) and Baz Lurhmann’s (1996) versions retained the dialogues written by William Shakespeare in their movies. However, these two movies are directed in their own unique ways, which have several distinctive differences.
The environment surrounding the star-crossed lovers in the tragedy of Romeo and Juliet can influence audiences who may interpret the scenes in different ways. The audience can be greatly affected in their interpretation of the story by the mise-en-scene, costuming, and the hidden symbolic meaning. This great piece of literature was edited in two unique and intriguing forms, one Zeferelli directed which was filmed in 1968, and the modern version produced in 1996. The different scenes throughout the length of the party were the most influential to me in that I saw how different these movies were directed, and the different meaning I experienced from watching these movies. Focusing on the environment of the scenes and the costuming helped me in my interpretation, because I found hidden symbolism in these two qualities.
Luhrmann’s 1996 Romeo and Juliet is compelling when communicating the main ideas of the play by providing the audience with a modern translation of the play using the motifs in the film which correlate to the play.
Romeo and Juliet presents an ongoing feud between the Montague and Capulet families whose children meet and fall in love. Markedly, the meeting scene depicting love at first sight continues to be praised by today’s critics. Romeo and Juliet then receive the label of star-crossed lovers whose tragic demise is written in the stars. In fact, Shakespeare 's work is well received and its numerous adaptations have made it one of his most enduring and notorious stories. The cinematic world brings to the screens a disastrous approach by Baz Luhrmann to do the play justice. A glance at Baz Luhrmann’s productions allows audiences to assume he delivers movies which are unlike those of any other filmmaker today, or perhaps ever. Therefore, blending a delicate
Good morning/afternoon Ms Pritchard and 10B English, today I will be exploring two of the same scenes from different film versions of Romeo and Juliet. Each film was directed by different but equally professional directors to allow the audience to understand the tragedy of Romeo and Juliet. The scene I am going to analyse is the party scene when Romeo and Juliet meet for the first time. The first film being discussed was directed by Baz Luhrman in 1996; an Australian director who loves to spice up his films to keep the audience on their feet. The second film was directed by Carlo Carlei in 2013; an Italian master mind of directing who prefers to stay true to his films and become one with the audience and the story being told. Both directors
Chloe Fleming investigates Baz Luhrmann’s capability in embodying Shakespeare’s Romeo and Juliet in his own modern film adaptation and praises the hell out of it.
Romeo and Juliet, written by William Shakespeare, is a tragic love story about two young lovers who are forced to be estranged as a result of their feuding families. The play is about their struggle to contravene fate and create a future together. As such, it was only a matter of time before Hollywood would try and emulate Shakespeare’s masterpiece. This had been done before in many films. Prominent among them were, Franco Zeffirelli’s 1968 “Romeo and Juliet” and Baz Luhrmann’s 1996 “William Shakespeare’s Romeo & Juliet.” Both films stay true to the themes of Shakespeare’s original play. However, the modernised Luhrmann film not only maintains the essence of Shakespeare’s writings, Luhrmann makes it relevant to a teenage audience. This is done through the renewal of props and costumes, the reconstruction of the prologue and the upgrading of the setting, whilst preserving the original Shakespearean language. Out of the two, it is Luhrmann who targets Romeo & Juliet to a younger audience to a much larger extent than Zeffirelli.
Baz Lurhmann’s creation of the film Romeo and Juliet has shown that today’s audience can still understand and appreciate William Shakespeare. Typically, when a modern audience think of Shakespeare, they immediately think it will be boring, yet Lurhmann successfully rejuvenates Romeo and Juliet. In his film production he uses a number of different cinematic techniques, costumes and a formidably enjoyable soundtrack; yet changes not one word from Shakespeare’s original play, thus making it appeal to a modern audience.
“The most filmed of all plays, ‘Romeo and Juliet’, with its universal themes… remains uniquely adaptable for any time period,” (Botnick, 2002). Directors Franco Zeffirelli (1968) and Baz Luhrman (1996) provide examples of the plays adaption to suit the teenage generation of their time. Identifying the key elements of each version: the directors intentions, time/place, pace, symbols, language and human context is one way to clearly show how each director clearly reaches their target audience. Overall however Luhrman’s adaptation would be more effective for capturing the teenage audience.
How Baz Luhrmann Uses Props, Iconography, Costumes, and Settings to Create His Own Version of William Shakespeare's Romeo and Juliet William Shakespeare’s best loved tragedy, Romeo and Juliet, has been portrayed in theatres and on film in many different ways. But none have been quite like Baz Luhrmann’s imaginative and unconventional adaptation. He has brought aspects of the plays Elizabethan origins and transfused them with a modern day background and created, what can only be described as a masterpiece. I believe that his use of Props, iconography costumes and the settings he has chosen has helped him to make this film such a great success. The settings of each scene have been specifically chosen to create a desired affect.