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Franco Zeffirelli's and Baz Luhrman's film renditions of Shakespeare's "Romeo and Juliet" present distinct approaches, with Zeffirelli aiming to echo the original format and Luhrman seeking modern relevance through fast-paced action and violence. This essay delves into a comparative analysis of these film versions against Shakespeare's original text, exploring their respective interpretations and impact on the timeless tale of star-crossed lovers.
In Zeffirelli's version, the story unfolds in the picturesque Verona, Italy, echoing Shakespeare's deliberate choice of location.
This setting provides a sunny and tranquil backdrop, reminiscent of the historical charm associated with the original play. On the contrary, Luhrman's adaptation takes a bold leap into Verona Beach, California, a contemporary suburban setting where towering skyscrapers replace the traditional sandstone buildings. This choice aims to infuse a modern twist into the narrative, bringing the tale into the 20th century. However, critics argue that Luhrman's representation fails to capture an authentic portrayal of society, as too much emphasis is placed upon the extravagant lifestyle of the rival families, evident in the lavish party scene hosted by the Capulets.
Costumes become a visual language in both adaptations, conveying deeper insights into the characters' personalities.
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In Luhrman's production, the costume choices are deliberate and rich in symbolism. Romeo is dressed as a knight in shining armor, representing nobility, chivalry, and courage. Juliet, on the other hand, wears an angel costume, embodying a perfect vision of beauty and innocence. Tybalt's devil costume serves as a visual representation of his malevolent nature, a force to be feared.
Lady Capulet, dressed as Cleopatra, aligns herself with the historical seductress, flaunting her charm and social standing. Lord Capulet's Caesar attire underscores his vast wealth and power. Luhrman uses costumes as a tool to embody the innermost nature of the major players, creating a visually striking representation of their characters.
In stark contrast, Zeffirelli opts for a more traditional approach to costumes, adhering to the historical context of the play. Characters are seen in traditional garments, with the added element of masks during the ball scene. The masks serve to conceal their true identity, providing a certain freedom from societal constraints. Zeffirelli expects the audience to discern Juliet's purity, Romeo's courage, and Tybalt's wickedness through the words they speak rather than relying on elaborate costumes.
The incorporation of music plays a crucial role in heightening the emotion of the lovers' first meeting in both adaptations. Luhrman infuses a contemporary love ballad into the scene, aiming to connect with a modern audience through familiar musical genres. The genre of music utilized varies enormously, capturing the essence of the characters' emotions. Zeffirelli, on the other hand, employs music to convey a central theme. The song entitled "What is a Youth?" becomes a poetic expression comparing Romeo and Juliet's love and lives to a rose, beautiful but brief:
"A rose will bloom, it then will fade
So does a youth, and the fairest maid."
All background noise is erased as Romeo sees Juliet through the fish tank in Baz Luhrman's version. The young lovers are so consumed with one another that they are oblivious to anything else around them, showcasing the intensity of their connection.
One of the captivating aspects of both film adaptations is the attention to language and dialogue. The original dialogue by Shakespeare is retained by both Zeffirelli and Luhrman, underscoring the timeless nature of the play. This decision adds to the feeling that love, such as Romeo and Juliet experience, is extremely rare and beyond the reach and comprehension of most. After meeting Juliet, even Romeo's language undergoes a great change. It becomes more simple, pure, and eloquent, representing the profound impact of true love on an individual's expression.
The ballroom scene in both film adaptations masterfully contrasts extreme hatred, portrayed by Tybalt, with the passionate love shared by Romeo and Juliet. The attention of the audience is expertly divided between the bitter, anger-fueled threats of Tybalt and the heartfelt, carefree exchange shared by the two doomed youths. This scene serves as a powerful contrast, emphasizing the central theme that Romeo and Juliet's love is threatened from the very beginning and is, therefore, doomed.
"I will withdraw: but this intrusion shall,
Now seeming sweet, convert to bitter gall"
The directors masterfully shift between these two scenes, portraying that Romeo and Juliet's love is constantly under threat, setting the tone for the tragic narrative that unfolds.
The use of religious imagery becomes a significant element in both film versions, symbolizing the solemnity of Romeo and Juliet's encounter. The name Romeo, Italian for "pilgrim," is fitting as he approaches Juliet as a pilgrim would a holy shrine. The religious imagery used by the pair upon meeting signifies the piousness of this occasion:
"If I profane with my unworthiest hand
This holy shrine...."
Both Zeffirelli and Luhrman conceal Romeo behind an obstacle, be it a curtain or pillar, emphasizing the symbolic representation of Romeo's desire to mask his deep feelings for Juliet until he can discover hers. This re-emphasizes to the audience that Romeo has been thwarted in love before and possibly fears rejection. Juliet, in contrast, is an amateur in this field and so has no doubts, adding a layer of complexity to their budding relationship.
Within Act 1, Scene 5, both adaptations give prominence to the workings of 'Fate' and its manifestations in visions, omens, and forebodings. The foreshadowing, a common element in all of Shakespeare's plays, is articulated by Juliet near the close of the scene. Upon identifying her lover, Juliet, like Romeo, finds it cruelly ironic that "my only love sprung from my only hate." She laments that this news is an ominous indication of what lies directly before her. Both youths realize all too late the seriousness of their love and the problems it can cause, setting the stage for the tragic events that follow.
Although both versions achieve the same end through different means, the audience's perception may vary based on the directorial preferences. Franco Zeffirelli's interpretation is often favored for its consistent portrayal and a slower pace, allowing for a better understanding of the Shakespearean language. This traditional approach may appeal to those seeking a faithful representation of the original play. On the other hand, Baz Luhrman's modern adaptation injects a fresh and dynamic energy into the narrative, catering to a contemporary audience. However, some critics argue that the modern elements, especially the violence, might overshadow the central love story.
In conclusion, the film adaptations of "Romeo and Juliet" by Franco Zeffirelli and Baz Luhrman offer unique perspectives on Shakespeare's timeless tale of love and tragedy. The contrasting settings, costume choices, use of music, language nuances, and directorial preferences contribute to the richness of the narrative. While Zeffirelli's traditional approach provides a classical and historically grounded experience, Luhrman's modern adaptation injects vitality and relevance for contemporary audiences. Both versions contribute uniquely to the exploration of Shakespeare's enduring themes, ensuring that the tragic love story continues to resonate with audiences across different generations.
Romeo & Juliet Films: Tradition vs Modern Interpretation. (2020, Jun 01). Retrieved from https://studymoose.com/compare-contrast-shakespeares-original-text-romeo-juliet-two-film-productions-focusing-act-1-scene-5-new-essay
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