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Contrasts between Zeffirelli and Luhrmann’s Romeo and Juliet There are many differences, large and small, between Zeffirelli and Luhrmann’s version of Shakespeare’s Romeo and Juliet. After seeing the first scene of both of these films, some notable contrasts became clear. The props used in both films differ greatly, in the 1967 version, very dated costumes were used, it looked like the director wanted a medieval style to be shown in the film judging by the costumes and props used. Real swords were drawn by the Capulet's and the Montague’s as the play suggests but the fighting seemed quite unbelievable to a modern day viewer as did some of the stalls used in the small market surroundings. However, in the newer 1997 version of the film, an entirely different approach was used, instead of swords, guns were used and a petrol station was where the first scene began as apposed to a small medieval market. Modern clothes were worn by the two families which made it more believable to watch and a lot more interesting. I think ...
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.
The Effectiveness of Zeffirelli's Interpretation of the Death Scene in Romeo and Juliet I think Zeffirelli’s interpretation of “Romeo and Juliet” is quite successful at expressing how he feels the play should be shown. He uses lots of techniques to make the play enjoyable, appealing and imaginative. To do this he uses different camera angles, realistic scenery, costumes, sounds and music. He cut some scenes that he didn’t think were particularly relevant to the storyline, and added some lines for effect. He has a love theme playing throughout the film that is played in minor and major keys depending how he wants the audience to feel.
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,
Zeffirelli has kept to the script, because this was his interpretation to the play. The costumes are certainly different to those of Luhrmanns, because of the time difference. Although, the two houses appear again with different colours, to let the audience know which family is which. The Capulets appear in much brighter colours such as yellows and oranges whereas the Montagues appear in the darker colours such as navy blue and black. The introduction to the fight is much quicker.
Someone once said "An individual can never escape their fate." Fate causes events in a person's life that are only controlled by a higher power. This is evident in the play "Romeo and Juliet" written by William Shakespeare because after reading his play, the reader learns that Romeo and Juliet's fate ultimately leads to their death. In the movie adaptation of "Romeo and Juliet" directed by Franco Zeffirelli, Zeffirelli does not include some of the significant fateful events that occur in the play. However, the events that do appear in the movie makes the viewer understand that the play’s lesson is fate leads to Romeo and Juliet’s deaths.
time and still can used as a modern story line in an modern film in
A Comparison of the Two Film Versions of Romeo and Juliet I have been studying the prologue to 'Romeo and Juliet' written by the magnificent playwright, William Shakespeare sometime between 1594 and 1596. Still globally acknowledged, it has been restyled by many directors for both stage and screen. Shakespeare starts his play with a prologue: an introduction to a play or other piece of writing. The prologue sets the tone of the theatrical production; it outlines
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.
said by the chorus. This means it is an idea of a group of people
Zeffirelli’s ultimate goal for his version of Romeo and Juliet was to capture Shakespeare’s original intentions for the play while targeting the teenage audience of his generation. Luhrmann’s intentions were different however; he changed the way an audience looks at Shakespeare’s masterpiece by modernising the props, costumes, and sets. Obviously, to match film time quotas Zefirelli and Luhrmann has both cut many lines out of the play.
Luhrmann modernised Romeo and Juliet through regular amendments of the props and costumes. In updating these aspects of the film, Luhrmann makes the play more relevant to our everyday modern environment. The actors in Luhrmann’s version carry guns instead of swords. Luhrmann, in an act of ingenious brand the guns with titles such as “Sword,” thus, enabling the original Shakespearean language to be preserved. Costumes differ dramatically between both versions of the film. In Luhrmann’s depiction of the motion picture, the Montagues have buzz cuts and pink hair whereas, the Capulets’ dress in vests and mainly dark clothes. All of these adjustments to the original play contribute to the popularity of the fil...
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.
Hamlet prince of Denmark by William Shakespeare is probably one of the most studied fictional pieces in history. It has become the very pinnacle of literature, and despite the commonality of the play there are many renditions that offer a different artistic interpretation. One rendition, in particular is Franco Zeffirelli’s 1990 film translation starring Mel Gibson as Hamlet. Shakespeare’s original Hamlet follows the heartening life of young Hamlet in which he is often portrayed as a whiney young man that spends his time moping around the castle teetering on the brink of insanity. Zeffirelli’s departure from the norm brings to light a different side of the character that is often overlooked in mainstream productions. Choosing to create a visual Hamlet and heavily cut text has lead to some attention-grabbing changes in the plays structure. Franco Zeffirelli’s film is significantly different with the play. For example, he added the funeral scene at the beginning. He uses a different order with the scenes and parts of scenes, most long speeches are cut, and sometimes gives one characters lines to another. Even though these changes could offend the devoted Shakespearean researcher, they mainly are there to build up the action and cut down the plot.
in the way he speaks in a sly voice. He is the perfect actor to play
One major and the most notable difference in the films is the setting. The setting of the 1968 version is set in Verona, Italy with buildings, courtyards, and streets similar to the middle ages. It follows the play as closely as possible that effectively brings us back to