The Montagues and Capulets are two feuding families, whose children meet and fall in love. The classic story of Romeo and Juliet, set in a modern-day city of Verona Beach. Shakespeare's famous play is updated to the hip modern suburb of Verona still retaining its original dialogue.Australia’s chief critics were significantly more enthusiastic on The Movie Show (see below), Margaret Pomeranz described the film as “simply stupendous” David Stratton called it “a tremendously bold vision.” Each warranted it worthy of five stars. America’s pre-eminent film critic, Roger Ebert, gave it two out of four stars, lamenting “the desperation with which it tries to 'update' the play and make it “relevant””. The critical reaction was mixed. Their families are enmeshed in a feud, but the moment they meetwhen Romeo and his friends attend a party at Juliet’s house in disguisethe two fall in love and quickly decide that they want to be.
Romeo And Juliet 1996 Script Movie On IMDbYoung Romeo Montague goes out with his friends to make trouble at a party the Capulets are hosting, but while there he spies the Capulet's daughter Juliet, and falls hopelessly in love with her.Watch The Movie Show original ★★★★★ review of Romeo + JulietYour Dodge Grand Caravan, like all vehicles manufactured after 1996. Two families of Verona, the Montagues and the Capulets, have been feuding with each other for years. Synopsis: Shakespeare's classic tale of romance and tragedy. More info about this movie on IMDb.comRomeo and Juliet. Adapted for the screen by Craig Pearce and Baz Luhrmann. Dot sap program costsThis is still a story about the senselessness of cross-cultural/familial conflict, about the difficulty of asserting oneself in an individual within society. This is still a story about the impetuousness of young love about the purity, the tragedy, the violence of love. The play’s original dialogue – iambic pentameter and all – is retained, mostly word-for-word, although naturally large swathes are omitted to accommodate a two-hour running time. Luhrmann’s intent was, in his own words, to tell “a Shakespearean story the way Shakespeare would have presented the material when he was at the Globe Theatre.” The dizzying blend of comedy, tragedy, romance and action – not to mention an extravagant style paying homage to Spaghetti Westerns, musicals, gang movies and melodrama in roughly equal measure – arguably hews closer to Shakespeare’s works than more classical approaches."The film’s aggressively untraditional approach holds true to the populist spirit of the Bard, if not to the letter."What It’s Really About The Standard StuffIt’s critical to note that, for all the boldness of this adaptation, Luhrmann’s film is still fundamentally Romeo and Juliet. Its hyper-stylised contemporary setting – described by Luhrmann as a “hybrid of Miami and Brazil” – and kinetic cinematography - regularly characterised as “MTV-style filmmaking” – has aged remarkably well… unlike much of that era’s pop culture.The film’s aggressively untraditional approach holds true to the populist spirit of the Bard, if not to the letter. Romeo and juliet unhealthy relationship quotes.Perhaps most importantly, Romeo + Juliet remains an accessible and exhilarating adaptation almost two decades on. Where they were aware at all times that they were watching a movie, and that they should be active in their experience and not passive. More interesting to examine is the fresh perspective Luhrmann brings to the material.“Let's look back to a cinematic language where the audience participated in the form. SparkNotes, the go-to reference for lazy English students, is as good a place to start as any. Shakespeare’s wordplay is bracketed by goofy sound effects and overt acknowledgements of the adaptation’s artificiality. After the opening narration – delivered by a television news anchor – we are launched into a vivid world of bright colours, quick cuts and broad comedy. Right from the opening frames, Luhrmann’s anti-realist aesthetic is impossible to ignore. They are aware at all times that they are watching a movie.”The above quote is from Luhrmann, discussing Strictly Ballroom in an interview with The Guardian, but it could just as easily apply to Romeo + Juliet (or, really, any of his films). And more than a little kitsch."This excess is tempered as the narrative progresses the subsequent introduction to DiCaprio’s Romeo – “a mixture of James Dean and Kurt Cobain” – is restrained in comparison, as we observe this young man strolling the shore at sunset. And more than a little kitsch."The net effect is overwhelming: disorienting, exciting, unique. The net effect is overwhelming: disorienting, exciting, unique. No surprise then, that Lawrence (Pete Postlethwaite) seizes upon their bond as opportunity for mending “their parents’ strife.” But just as Luhrmann’s film never truly sheds its artificial accoutrements, the promise proves unfounded. These icons represents the dogma and hypocrisy of a repressive society.Romeo and Juliet, then, present an opportunity to enact the Christian principles their parents advocate: love, forgiveness, devotion. Garish, overused and coupled with weaponry, this is a world where religion is universally espoused yet stripped of meaning. Perhaps the ubiquity of these symbols is in fact the point. Romeo and Juliet’s knight and angel outfits (more religious symbolism) suggest their roles as archetypal lovers, while the dress worn by Mercutio (Harold Perriineau) hints at the nature of his feelings for Romeo.But what of the religious imagery? Religion is hardly absent from Shakespeare’s play: Friar Lawrence (retitled Father in Luhrmann’s adaptation) is a man of God whose actions, though benevolent in intent, prove disastrously misguided, while the dialogue draws an explicit link between love and religion – as in the pair’s first flirtation, where they dance around the notion of kissing with references to prayers, saints and pilgrims. Romeo is, as mentioned, first seen by the sea. Not until their deaths.Another recurring motif – less prominent, but no less important – is Luhrmann’s use of water throughout the film. Lawrence’s faith in these two lovers’ ability to mend the rift between their parents is ultimately realised, but not without suffering. Preceding Luhrmann’s interpretation was George Cukor’s 1936 production generally well-regarded, but old-fashioned to the point of casting a pair of thirty-somethings (Leslie Howard and Norma Shearer) in the title roles – roles intended for teenagers.Franco Zeffirelli’s 1968 film was the first to cast age-appropriate actors in the roles, but regardless of accurate casting it remains a canonical cinematic depiction of Shakespeare’s play. Water, then, seems to be another one of the many metaphors for love transparent and pure and beautiful.As mentioned, Romeo and Juliet demands adaptations – and that demand has been well and truly met by filmmakers. Most of the dialogue in the famous balcony scene occurs not with the lovers separated by a balcony, but immersed in the waters of the Capulet swimming pool. The pair make their connection through water, too, catching each other’s attention through an iridescent fishbowl. His fateful dual with Tybalt (Michael York) is funny, thrilling and heart-breaking all at once.English teachers looking to introduce the play to their students might shy away from Zeffirelli’s film - because of its age, dusty cinematography and brief nudity – so perhaps Carlo Carlei’s 2013 adaptation was intended to provide a more up-to-date classical version of the story. 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.
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