Baz Luhrmann’s Romeo and Juliet Essay

Being a virgin viewer of Baz Luhrmanns Romeo and Juliet, I found myself dissatisfied as I began to see the famous balcony icon reveal itself on the courtyard floor. Where is the barrier, the stony limits that separates the comers from each a nonher(prenominal)? I inquired. How could the most renowned scene of William Shakespe ares most popular summercater be missing? I continued to watch in confusion as the daring scene developed into a masterpiece. Baz Luhrmann and Franco Zeffirelli both achieved incomparable interpretations of William Shakespeares script which accomplish the chief goal of displaying the extremely concupiscent love between Romeo and Juliet. The movies were do twenty-nine years ap maneuver and had more(prenominal) specific and not so obvious differences between them including the bushelting, script, and camera maneuver that are signifi bay windowt to accomplishing the two directors diverse objectives for the movie houses. The most noticeable difference found between the balcony scenes of the two movies is the unalike striationtings. thither actually is a balcony in Luhrmanns magnetic declination, merely it is practically small and is only used for a brief instant in the scene.Romeo climbs to the overstep of the balcony in both versions, but in Luhrmanns film, to his surprise, he finds an tremendous nurse instead of the attractive Juliet. This comedic moment is essential for distracting the audience from their predictions. The Capulet anterooms are both astounding and enormous but bestow different emotions. The mansion in Zeffirellis Romeo and Juliet is precise castle-like with towering stone walls surrounded by trees, and a large balcony. This plain and simple appearance is important because the counsel of the scene is on the two young lovers and the stony limits that separate them. Luhrmanns film has a very luxurious and romantic looking set that captures the viewers attention from the start. The scene is more colorfu l with white scintillation lights, statues, ivy, and most importantly, a brightly lit up blue liquified pool. The water provides a perfect medium for Romeo and Juliet as they confess their love for each new(prenominal). The water does not only serve symbolic grandness but provides a modern obstacle between Romeo and Juliet that can be compared to the balcony.Although the viscous water acts as a barrier, the pool scene involves much more contact between the lovers than Zefferellis balcony scene. Light piano symphony fills the air instead of the louder rock medicament that is found throughout the film. In both versions, Juliet is clothed in all white, portraying her innocence. Zefferellis set resembles the setting William Shakespeare describes in his script, while Luhrmann modernizes the setting and translates script to appeal to at presents generations. Shakespeare wrote his plays in a Victorian lyric poem that is not especially familiar to most people today. Zefferelli was qu ite aware of this, but made very few adjustments to the script. His play targets people who already know the boloney of Romeo and Juliet. Zefferelli takes advantage of the opportunities film offers by using technology to create realism, solid ground music, props, and backgrounds to aid in the comprehension of the balcony scene of this romantic tragedy.On the other hand, Baz Luhrmann cuts the original script from 190 lines to 100 lines. He also adds occasional(a) words to enable a smooth flowing dialogue. He maintains Shakespeares Victorian language because of the ingenious poetry and rhythm it has that flows like music to ones ears. Luhrmann eliminates a lot of the difficult and time-consuming language as well as lines that do not pertain to his modernise setting. For example, lines 70-182 of Act III, Scene II are eliminated, in which Juliet calls Romeo back wherefore forgets why she did so. Luhrmanns adjustments to the script allow for a more light-colored translation of Shake speares language. In addition to the changes in the script, the scene can be comprehended strictly by viewing the moving witness due to the careful selection of costumes, the use of body language, the romantic setting, and the camera technique.The camera work during the balcony scene of both films is very strategically planed to strive the viewers a much more personal visit than that of the stage. Zeffirellis scene makes use of the long balcony as the camera pans along it continuously, not allowing the eyes to rest. This keeps the viewers involved in the film while bordering ups are used to channelize the passionate emotions of the lovers. In Baz Luhrmanns version of the scene, the camera is not as active as one expertness imagine. The scene begins with long shots and as it develops, the camera moves in to extreme close-ups to show every detail of the lovers expressions. The camera gives the viewers an intimate relationship as it moves slowly and more closely to the actors in contrast to the chaotic camera movement in other scenes. The quantity of editing used in Baz Luhrmanns scene is significantly reduced when compared to the editing in other parts of his film.The editing pace goes from every couple turns per shot to to the highest degree twenty seconds per shot. The length of shots in Zeffirellis scene is even longer. Also, Zeffirellis scene uses slight high-angle shots on Juliet that gives the effect that Juliet is in a more superior position than Romeo. In Luhrmanns film the lovers remain take with each other throughout most of the scene, giving a whizz of equality. Both filming techniques used in the two versions were very impressive in creating the close relationship between Romeo and Juliet as they reunite for the second time. The power and passion of love found within the balcony and pool scenes of the different films is one that leaves an everlasting impression in the hearts and minds of the viewers. Although interpreted very differently b y two brilliant directors, the scenes both relay Shakespeares message.Baz Luhrmann did so in a way that transformed the play from Shakespearian times to the youth of the twentieth century. He used state of the art technology, familiar actors, a modernized setting, and adjustments to the actual script to translate Shakespeares play into modern times. On the other hand, Franco Zeffirelli attempted to make his film as much like Shakespeares play as possible. He used film to his advantage to provide a closer experience than that of the stage, but few changes to the actual script and setting were made. He valued to reflect the play to the best of his ability to the screen. Baz Luhrmanns objective was to contribute Shakespeares Romeo and Juliet to the homes of people around the world. Both films were successful in achieving their goals, but were very unique because of the differences in the setting, script, and camera work.Works CitedImagery in Luhrmanns Romeo + Juliet. American Film In stitute. 1 Feb. 2005 http//www.fathom.com/course/28701907/session4.html.Marks, Margaret. Brand untested Old Stuff. 1 Feb. 2005.Romeo and Juliet. Dir. Franco Zeffirelli. Perf. Olivia Hussey and LeonardWhiting. Paramount Pictures, 1968.William Shakespeares Romeo and Juliet. Dir. Baz Luhrmann. Perf. Leonardo DiCaprio and Claire Danes. Twentieth degree Celsius Fox, 1997.