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While Luhrmann made a huge splash with his version, Zeffirelli's incredibly popular 1968 effort was the go-to R&J for decades. Modern Shakespeare adaptations are all the rage these days, but sometimes, you want some good old-fashioned hose and doublets. The central couple's single-mindedness comes into play, too, but we're left with the impression that if the grown-ups had forgiven each other a little more readily, this whole mess might very well have been prevented. We're treated to shots like one of Dennehy fuming in his limo, ready to drive over to the Capulet's place and blow melon-sized holes in his rival right then and there.
Shakespeare romeo and juliet leonardo dicaprio full movie how to#
Poppa Capulet ( Paul Sorvino) and Big Daddy Montague ( Brian Dennehy) have been fighting for so long that they don't know how to do anything else. But some people might also argue that the tragedy isn't just Romeo and Juliet's-it's their families' as well. You can easily read Romeo and Juliet as a cautionary example of the impetuousness of youth (i.e., don't kill yourself over a guy you just met. It's also worth noting that the film's hyperactive larger-than-life qualities have a subtle effect on the core tragedy. Kenneth Branagh cast well-known actors in his Shakespearean adaptations, but Luhrmann one-ups him here, and in the process, shows us crazy kids why the ultimate Crazy Kids Story matters to our lives. He needed to speak in a visual language that young people could relate to, one that matched the movies, commercials, and videos that they consume every day. And he couldn't do that simply by casting a couple of hot stars in the lead roles. Why all that emphasis on the new and the now? Well, like a lot of Shakespearean filmmakers, Luhrmann wanted to help young people connect with the material. Check out the trailer to see what we mean. The editing shows an enthusiasm for the MTV generation, with rapid music video cuts, and even the matter-of-fact prologue gets a modern-day twist, coming to us courtesy of a talking head on the news. The Friar ( Pete Postlethwaite) sports a crucifix tattoo on his back. Mercutio ( Harold Perrineau) is a cross-dresser. The characters flash automatic pistols instead of swords, they cruise around in limos, and they moon to songs by Garbage and The Cardigans. This flick was shot in Mexico City, and has an aggressive late 20th century vibe. (And we mean that in the best possible way.) What's DifferentĪ better question is "What isn't different?" Within those, boundaries, however, he goes completely off the deep end. Luhrmann knows the rules and uses the text to define his boundaries was a filmmaker. It may sound obvious, but you'd be surprised how many productions flat-out ignore the rules and cast people way too old for the part. They're a bit older than the Shakespearean ideal, but we can still buy it (and those precious few years gave them some time to hone their acting skills too). Hence Luhrmann's choice of seventeen-year old Claire Danes and twenty-two-year-old Leonardo DiCaprio in the leads. Romeo's age isn't specified, but you can't make him too much older-or younger, for that matter-without things getting creepy. For example, Juliet "hath not seen the change of fourteen years" (1.2.9), so you can't cast Sally Field in the role (sorry, Sally Field). Since he stuck with the script, Luhrmann had to pay close attention to casting choices that fit the in-line descriptions. And as Luhrmann proves, you can do a lot. The trick, then, is to see what you can do within that framework. You can cut lines, you can move lines around, but you absolutely do not get to add any lines. The dialogue doesn't change, and that's the real key with Shakespeare. What's the SameĮverything and nothing all at once-that's what. Modern settings! Gang warfare! Leonardo DiCaprio at the height of his Tiger Beat cover phase! Luhrmann's film had it all, and most importantly, showed us why we still read Shakespeare after four hundred years. Seizing on Kenneth Branagh's mission to make the Bard more accessible to modern audiences, Luhrmann produced an MTV shotgun blast to the face. If you stuck Shakespeare in a pop-culture blender and hit "puree," you'd probably end up with Baz Luhrmann's Romeo + Juliet.