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Baz Luhrmanns Romeo And Juliet Review Film Studies Essay

Baz Luhrmann brings a distinctive visible style to William Shakespeare's renaissance tragedy "Romeo and Juliet". Occur today's Verona Beach, Luhrmann places the assertive and trendy build of his version in a decaying Miami City. Within minutes, the opening Tv set prologue hurls us in to the white-hot power of the two warring young families, bombarding the audience with chaotic action scenes and passion. Constructing an edgy and active environment, his brash interpretation uses swift slashes and erratic zooming techniques to create a comic strip style sequence contrary to the multicultural backdrop of the graffiti dispersed pavements of Verona. Though effective, the restlessness of the camera becomes perplexing, slicing the action into brief, distinct images that can mystify rather than illuminate. Such fervent action so soon into the film is dizzying and unforeseen. Luhrmann allures the audience along with his lively theatre style, accelerating the action to hype up the confrontation and the rivalry of both people alongside an intense soundtrack of modern-day and popular music. Like a modern-day film director, Luhrmann clearly values the younger audience who would usually only touch Shakespeare in a university environment. This could clarify the roaring energy of car engines and elaborate guns instead of horses and swords originally used in early on productions.

Encompassing the elegance of Shakespeare's words, Luhrmann introduces the "star crossed enthusiasts" in a tender exchange of affectionate eyeball contact over the shimmering light of an aquarium. The couple follow the other person across the length of the glass within an long lasting and delicately fresh and romantic minute, capturing the innocence of the fated couple. Luhrmann creates a sensual and glamorously passionate atmosphere whenever the enthusiasts meet only. The balcony and pool scene in particular surrounds the match in a glimmering sheen of water and light. Luhrmann's use of atmospheric lamps leaves the audience to swoon, consuming in the shine of the dreamy eyed few as they exchange their most iconic and long lasting dialogue. Though their love is prohibited by custom, ego and prejudice in the world of Verona, Luhrmann exposes Shkespeare's crisis to a modern world without limitations, modernising the play with radical moments of medication use, pull queens and open public brawls. One or two so concerned with the traditional morals of their own families in a world of legislations breaking and promiscuity comes as a stark compare which sometimes, is unconvincing. As the audience enjoy the rowdy and loose morality at the Capulet Ball, it is at first slightly difficult to believe that two teenagers in love would not act after their passionate interest. However, the undeniable beauty of the couple's love is infectious. Because they lie in the church lit by thousands of candles, the wonder of Shakespeare's passionate tale is undeniable in the tender, atmospheric style with which Luhrmann combines light and opulent spiritual design to glamorize the tragic field where the love affair comes to an end.

The language used in this film is raised from the webpages of Shakespeare's word; which is shocking and satisfying as the dialogue fits seamlessly in to the design of the film. Luhrmann has stripped the dialogue down the necessities to be able to market to a commercial youthful audience who may well not understand the complexities of the initial dialogue. The bare bones of the written text are supplied confidently, notably by Friar Lawrence. Professional Pete Postlethwaite's portrayal of the Friar as a new age herbalist gives the audience a glimpse of Shakespearean imagery and rhythm as he optimistically agrees to marry the pair in a bid to carefully turn the "household's rancour to pure love". In the same way, Harold Perrineau's portrayal of Mercutio provides an unique and audacious tempo to the film. Perrineau portrays him as entrancing and powerful, emphasising Shakespeare's skilfully witty identity, which becomes most poignant during his speech before they can be due at the house of Capulet. The volatile style where he reveals this famous talk develops from a jovial and bawdy exchange with Romeo at the steps of your run-down theatre, to an explosive and ardent conclusion. Delivered obviously, Luhrmann heightens suspense by climaxing the talk with a furiously smart light and sound of a single firework. The audience are taken to a maximum of anxiety and anticipation, uncertain where this volatile identity will need them next.

As well as delivering an aggressively modern version with the setting up and terms of the play, Luhrmann's interpretation of Shakespeare's tragedy is styled inventively by outfit developer Kym Barrett. The clothing is eclectic and riotously colourful, complimenting the up-beat and psychedelic design of the film. Reflecting the disposition of the individuals, Kym Barrett dresses the characters as a portrayal with their position in the world within the storyline. The contrasting morality within the generations and conflicting traditions between the individuals is illustrated by the way they dress. The Capulet guys for instance, are dressed in smart and formal suits throughout the film, happily reflecting their traditional Latino traditions which Luhrmann portrays. Making a comparison, the Montague guys are dressed up in very everyday beach t shirts and plank shorts, illustrating the less mature and jovial features of their characters. In the comparison to younger customers of the ensemble, the parental and authoritative figures are dressed in expensive and regal clothing, suggesting the traditional worth of their population. Both women at the head of each household have emerged to be dressed in the luxurious clothing typical of wives of influential men. As their wealth is illustrated in the beauty and glamour of the dress, the authority that their husbands keep within the city is also set up. It is interesting to note that Luhrmann includes a modern style pull queen in this version, dressed up in a provocative and vibrant sequined costume. Though not unknown in the other Shakespearean takes on, combination dressing, most involve women dressing as men. Mercutio's flamboyant design of dress at the Capulet's ball is an expression of sexuality ineffectual to the story, not a central theme to the quality of the storyline as in many of Shakespeare's takes on. Luhrmann heightens the cosmetic sexuality in his film adaptation to get a younger and even more contemporary audience. The affectionate characters of the film remain innocent. Outfitted to represent her children, Clare Danes instils the naivety and youthfulness of Juliet in a modest white dress and ordinary style of mane and make-up. Likewise, Romeo demonstrates her adolescence and compliments her dress, choosing a simple dark suit and tie up. Before they fall in love, the audience can detect their compatibility by the harmonizing styles of the addicts.

The costumes and setting up of the film generate an up-beat and boldly sophisticated overall perspective. The audience are bombarded by an audacious and energetic interpretation complimented by a lively soundtrack and attractive ensemble. Though incredibly pleasing on the attention, Luhrmann's concentration on the aesthetics of the film does sacrifice the storyline and dialogue for style. However, this interpretation of Shakespeare's old classic will bring renaissance episode in to the 21st century. Luhrmann says the story in an edgy and fast paced film which smashes the Shakespeare's stereotype of stodgy, uninteresting takes on that are difficult to comprehend.

As a director, Baz Luhrmann revisits the play with great attention, choosing to only leave out scenes that are really futile to the plot. This may be because of the audience his film is made for, catering for the commercial audience who require more of the action and love than the subtleties of Shakespeare's dialogue. His design of directing is sometimes intrusive, zooming in and accelerating the action in a way which attracts the audience in, almost too near the episode. His wild style of filming places the audience in to the action immediately, which sometimes, particularly the starting picture, is obtrusive and gaudy.

This adaptation of "Romeo and Juliet" is significant for the reason that only one other film edition is recognised with the same commercial acknowledgement. Franco Zeffirelli's 1968 adaptation is a normal take on the play, occur the 15th century Renaissance period and filmed totally in Italy. With only one other well-known film version of the play, Luhrmann's film is becoming an important option to the conventional style of renaissance episode. Largely shot in Mexico City, there's a strong unapologetic ambience, presenting the film more of an attitude than the traditional setting of Verona. Luhrmann's definitive rendition of the play is outrageously narcissistic and easy on the eye, opening the world of Shakespeare to a wider audience in a modern-day and brash interpretation that leaves the commercial audience desiring more of Shakespeare's convincing drama.

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