romeo and juliet play and movie comparison essay

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Romeo and juliet: 20 differences between the play and the movie.

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• Verona becomes Verona Beach in Luhrmann's Romeo + Juliet, set in modern times with guns and TV news updates.
• Luhrmann modernizes Shakespeare's Romeo and Juliet, changing characters and setting but keeping original dialogue.
• Baz Luhrmann's adaptation of Romeo + Juliet uses guns instead of swords, updated costumes, and modernized character names.

In 1996, Baz Luhrmann turned his eye to the works of Shakespeare and created a finished product with several differences between the Romeo and Juliet play and the movie. William Shakespeare's 38 plays have proven to be quite memorable, but the one most adapted is Romeo and Juliet. It may have been first performed in the 1500s, but elements of the tragic play ("the star-crossed lovers") can be found in the likes of several popular TV shows, rom-coms, musicals, and even video games. None remained as loyal while making such drastic changes, as Luhrmann's Romeo + Juliet .

Watch on Hulu

There are many modernizations of Shakespeare's works , such as 10 Things I Hate About You bringing Taming the Shrew to modern times. Few have done anything as kinetically different as Luhrmann's story using the original dialogue, but setting it in a modern-day Verona Beach. Shot almost like a long-form music video, Baz Luhrmann's Romeo + Juliet uses the original Shakespeare dialogue, but intersperses it with television footage, news crews, and car chases, making it like nothing fans of the Bard had ever seen while making it accessible for contemporary teenagers to understand the tragic love story.

Some of these adaptions are popular teen movies dating back to the 80s, many of which cleverly adopted many themes of Shakespeare's original plays.

The Setting Is More Modern In The Romeo + Juliet Movie

Fair verona becomes verona beach.

The original version of Romeo and Juliet is set long ago, with most guesses being the 14th or 15th century. People acted differently and the world operated with a different structure. The main change here is that Baz Luhrmann’s version is set in the modern-day (or at least 1990s America).

The Romeo and Juliet movie changes to allow cars, guns, FedEx trucks, cafés, and TVs. Everyone is also dressed in modern clothes and many people have dyed their hair. It couldn’t look more different, but the language remains unchanged.

Some Of The Lines Have Either Been Cut Or Altered In The Romeo + Juliet Movie

Only one character uses iambic pentameter.

Despite the language of the play remaining mostly unchanged, notably with the characters still referring to their guns as "swords," a few things did have to be adapted if it was to be shown on the big screen. One of the differences between the Romeo and Juliet play and movie was Luhrmann cutting some of the lines since he only had a certain run time to tell his version. Additionally, despite the majority of Romeo and Juliet being written in iambic pentameter, Father Laurence (Pete Postlethwaite) is the only character in Romeo + Juliet to speak in this meter .

The Montagues And Capulets Are Not Just Warring Families In Romeo + Juliet

The montagues and capulets are mafia empires running corporations.

Tying in with the updated location and time period, the actual presence and existence of the Montagues and Capulets are drastically different from the original play. Rather than being two families at war, the difference between the Romeo and Juliet play and movie is that the war here is between two rival businesses. In the movie, it is rival mafia empires. That made them criminal empires rather than prominent families. However, they pretend to be legitimate corporations with law enforcement in their pockets. With this comes a change in motivation for a lot of the major plot points in the story.

The Messenger/Prologue Chorus Is Replaced

News reports act as the chorus.

As the film modernizes the original play, it naturally had to find a new way to present the role usually fulfilled by the chorus, such as in the opening prologue. This is cleverly done by having a news anchor read these lines, presenting the chorus lines as if it were a news report on television screens .

Additionally, the TV also fulfills the role of the messenger that was in the play. Instead of the cast finding out about the Capulet's party by messenger, they see it announced on TV. This is not only a good way to modernize the story, but to make it work cinematically.

Rosaline's Role Is Reduced Drastically In The Plot Of Romeo + Juliet

Rosaline is not even seen in most adaptations.

Rosaline is a character that doesn't actually appear in the play but still plays an important factor. She is Romeo's (played by Leonardo DiCaprio) first love and the reason he is distraught at the beginning of the story, as she does not love him, instead swearing a vow of chastity. Rosaline is the main reason the Montagues visit the Capulet's party, as she is meant to be there.

In the film, Rosaline's role is reduced, though she still acts as a device to get Romeo to the party. Despite Romeo brooding at the beginning, his feelings for Rosaline appear to be presented as more of a crush, and Romeo's emotions are downplayed when Benvolio (Dash Mihok) asks why he is sad.

Rosaline's fate after the tragedy of Romeo and Juliet's romance has actually prompted much speculation. Books and movies both have speculated about how Rosaline might have reacted to her previous suitor dying after a whirlwind romance. Shows like Still Star-Crossed and movies like Hulu's Rosaline have attempted to answer those questions.

The romantic comedy Rosaline has a great cast full of talented young stars and Hollywood veterans. Here's a guide to the film's cast and characters.

The Balcony Scene Is Cut From The Romeo + Juliet Movie

The scene plays out in a pool instead.

The balcony scene is arguably the most iconic scene of not only Romeo and Juliet, but of Shakespeare's entire works. It is a scene frequently referenced in pop culture and it is well-known to most people, even if they have never read or watched the play in any form. So it's pretty surprising that the film decided to change this legendary scene. In Romeo and Juliet 1996 vs the play, Luhrmann first reduced the 190 lines to just 90 lines. Secondly, the setting changed from an orchard scene to a more modern scene in a swimming pool .

The Tone Of The Marriage Proposal Is A Lot More Immature

The romeo + juliet movie makes it seem impulsive.

In the original play, the scene where Romeo proposes that he and Juliet (Claire Danes) should get married is normally perceived as being a serious part of the play. However, one of the differences between the Romeo and Juliet play and the movie is that the characters are less serious.

Instead, they are giggling and laughing as they relay the lines that are more commonly acted out more earnestly on stage. Of course, this could be Luhrmann's way of presenting how happy the two are, so joyous that they keep smiling and laughing, but it downplays the importance of their union and how it would unite their two houses.

Paris’ Death Is Excluded From The Romeo + Juliet Movie

Romeo kills paris in the play.

In the original version of Romeo and Juliet , Romeo goes to the Capulet crypt to find Juliet. However, when he gets there, Paris is there grieving the loss of Juliet and Romeo kills him during a fight. The Romeo and Juliet movie changes this. Firstly, Paris is called Dave Paris in the Romeo and Juliet cast , and secondly, he isn’t in the crypt at all, meaning Romeo doesn’t bump into anyone there.

In turn, this means Dave Paris ends the film very much alive , while the Romeo and Juliet play provided that cruel twist ending everyone is too familiar with. This makes a major change, as his death showed how the battle even killed innocent people who were not part of the feud.

Lady Montague Is Alive At The End Of The Romeo + Juliet Movie

Lady montague dies after romeo is exiled in the play.

Although six people died in the play, Baz Luhrmann's version reduced this number to four as he left two individuals alive. Not only did he omit Paris' death from his script, but he also omitted Lady Montague's death too (who can be seen sitting in the limousine at the very end).

While the Shakespearean play said she died as a result of Romeo being exiled, it appeared that Luhrmann didn't think it was as important in his adaptation since she didn't have much impact on the story. Of course, her fate could have remained the same, but it was not part of the movie's tale.

The Montagues And Capulets Don't Reconcile At The End Of Romeo + Juliet

The families symbolically reconcile in the play.

Luhrmann continued to create differences between the Romeo and Juliet play and movie by not including the reconciliation. This came in the final act of the tragedy when the two fathers walked into the church and discovered that their children died. To pay tribute, they decide to end the feud and build two statues of them side-by-side.

It's possible Luhrmann decided not to include this scene because it overlooked Romeo and Juliet's deaths. However, they were the most important people in their parent's lives, so Luhrmann instead had them contemplate the brevity of the situation and how their violent feud cost several people their lives.

Balthasar And Friar Laurence Don't Appear In The Ending Of Romeo + Juliet

Balthasar and friar laurence explain events in the play's final act.

While they appeared in the movie version, some people might not have realized that Balthasar (Jesse Bradford) and Father Laurence should also have been involved in the final act. In the play, it is Balthasar and Friar Laurence who discover Romeo and Paris' bodies and explain why this tragedy came about. However, given that the movie is set in a more modern era, where technology and autopsies are more advanced, and marriage certificates are easy to track, the two families would have been able to quickly figure out what happened, which would mean that this scene was not needed.

The Prince And Paris' Familial Relationship Is Excluded From Romeo + Juliet

Paris is the son of the governor.

With Paris still alive at the end of the movie, it appears that Lurhmann had cut the familial ties between Paris and Captain Prince (Vondie Curtis-Hall), since they were declared "kinsmen" in the play. Although some might say that it didn't really affect the story as much since Paris and Prince Escalus didn't really interact, it changed the interpretation of the play slightly.

Not only was Paris' death meant to highlight the immense tragedy further, but the Prince's grief was to show that innocent people were also caught up in this family's feud. Once again, this allowed Luhrmann to keep the focus on Romeo and Juliet and not as much on the other casualties.

Paris' Familial Relationship With Mercutio Is Also Excluded From The Movie

They are referenced as kinsmen in the play.

Since the play established that Paris and Mercutio (Harold Perrineau) were kinsmen to the Prince, it also appears that the movie adaptation excluded their familial ties to each other. The only one Lurhmann keeps intact is that of Mercutio and Captain Prince.

Given that Mercutio played a pivotal role in Luhrmann's version of the play , it makes sense the director kept Captain Prince and Mercutio's relationship as it emphasized that even outsiders can be drawn into the family feud. It also makes a lot of sense that he would cut Mercutio and Paris's ties too, since they didn't even interact in the play or acknowledge their relationship with each other.

Juliet Wakes Up Before Romeo Dies

Juliet wakes up after romeo's death in the play.

The twist ending is one of the reasons why Romeo + Juliet is one of the most memorable adaptations. Where the play sees a heartbroken Romeo take his own life before Juliet wakes up, one of the differences between the Romeo and Juliet play and movie is that the film changes this.

Instead of the heartbreakingly unfulfilled, and brutal ending of the original, Luhrmann has Juliet wake up just before Romeo dies, so they can share a quick kiss before she takes her own life. It was a silly end that Hot Fuzz made fun of in its mock Romeo and Juliet play, which itself was the cast adapting the Luhrmann movie - not the play, including the movie's song "Lovefool."

The Misuse Of Drugs Is Different In The Romeo + Juliet Movie

Romeo is seen taking a pill early in the movie.

One of the differences between the Romeo and Juliet play and the movie is its depiction of drugs. In the play, the only time "drugs" are used is when Juliet takes tonic to fake her death or the poison Romeo drinks at the end. However, the misuse of drugs is completely different in the Lurhmann version as Romeo is seen taking a pill before he enters the Capulets' party.

While this might have been the director's way of making it modern, it added to the symbolism and hidden meanings. This isn't to say there weren't drugs in the 15th century, as marijuana (The Herb) was around in those days, which created hashish. With that said, Shakespeare didn't use it in his play.

Baz Lurhmann Replaces Swords With Guns In The Romeo + Juliet Movie

The guns are actually named swords.

Baz Luhrman’s film replaced the swords from the original with much more modern guns. Swords obviously require a lot of close combat, which means fights need to be done from close range. A gun could end a fight in less than a second, which could reduce the dramatic tension. Having said that, shootouts give the scene the Hollywood edge and make the film fit the 1990s more.

It was also needed because people in the 1990s wouldn't likely be carrying swords in a beachside town. Luckily, the dialogue still referred to the guns as "swords," keeping the callback to the play intact in this Romeo and Juliet adaptation . The guns were also stamped with the name "sword" to make the naming convention make sense .

The Costumes In Romeo + Juliet Are More Reflective Of Their Personalities

Other adaptations have simply employed masks to cover identities.

During the Capulet party, the costumes in the original Shakespeare play seem nothing particularly outlandish, with the characters wearing Elizabethan garments that would have been worn during any part of that era. However, in the film, Luhrmann decides to dress each character in a costume that reflects their personality.

The audience sees Juliet with ethereal angel wings and Tybalt dressed as the devil. It's not just the party. Mercutio’s glitzy lingerie set and cape were perfect for his character's personality and the flaming sacred heart on the Hawaiian shirt Romeo wore was iconic. Australian costume designer Kym Barrett delivered strongly for the movie .

Baz Lurhmann Gave The Characters Modern Names In The Romeo + Juliet Movie

Lurhmann also gave some characters first names.

Baz Luhrmann kept the dialogue the same as it would have been so many hundreds of years ago, but he changed the Romeo and Juliet character names . Paris gets a first name in Dave. The Montagues are named Caroline and Ted, while the Capulets are named Fulgencio and Gloria. Friar Laurence is turned into Father Laurence and Prince Escalus becomes Captain Prince, a police chief. These differences between the Romeo and Juliet play and the movie make sense. Friar makes no sense in 1990s America and the police officer being a captain is also the proper title for the time.

Some Minor Characters' Affiliations Are Swapped Around In Romeo + Juliet

This allowed some characters to have larger roles.

Luhrmann decided to shuffle the affiliations of certain minor characters around. It’s a little confusing for those already familiar with the characters and doesn’t seem to make much sense or have any reasoning behind it. Abram (Vincent Laresca) and Petruchio (Carlos Manzo) become Capulets despite being Montagues in the original, while Sampson (Jamie Kennedy) and Gregory (Zak Orth) are Montagues in the film. Sampson, in particular, is an interesting one, as he becomes Romeo’s cousin, whereas before he was nothing more than a Capulet servant.

Friar John Is Excluded From The Romeo + Juliet Movie Altogether

Friar john isn't needed in the modern story.

Although he isn’t exactly a huge presence in the original play, Friar John nevertheless exists and has a certain role to fulfill. His character is used as a tool to send a letter from Friar Laurence to Romeo, but regrettably, he is unable to fulfill his duty because he becomes quarantined after an outbreak of plague. His small role is ultimately unsuccessful, but this makes him hugely important to the plot. He was supposed to tell Romeo about Juliet's false death, and since he never arrived, it led to Romeo's death.

Of the differences between the Romeo and Juliet play and the movie, this one might have been omitted because Laurence could just overnight the letter, which he did. There's no need for someone to deliver a message on foot between two people they know when such things as overnight mail service exist. It's one of the Romeo and Juliet differences that makes the most sense .

Romeo + Juliet

Romeo and Juliet 1968 and 1996 Movie Comparison Essay: a Tale of Two Cinematic Experiences

How it works

Ah, “Romeo and Juliet”! The age-old story of star-crossed lovers that Shakespeare spun into literary gold. And guess what? Filmmakers couldn’t resist turning this tragic tale into cinematic magic. We’ve got not one but two iconic adaptations from the late ’60s and the ’90s. Buckle up because we’re diving into the world of “Romeo and Juliet” on the big screen.

• 1.1 Keeping It Traditional
• 1.2 Star-Crossed Chemistry
• 1.3 Visual Poetry
• 1.4 Soothing Sonnets
• 2.1 Shaking Up the Scene
• 2.2 Visual Extravaganza
• 2.3 Cultural Remix
• 2.4 Unforgettable Soundtrack
• 3.1.1  Strengths
• 3.1.2 Weaknesses
• 3.2.1 Strengths
• 3.2.2 Weaknesses
• 4 The Final Verdict: Which One’s Your Cup of Tea?
• 5 Conclusion

The Vintage Vibe: 1968’s Classic Charm

Keeping it traditional.

The 1968 film, directed by Franco Zeffirelli, grabs the bull by the horns regarding Shakespearean authenticity.

You’re talking about lush Renaissance-era settings, costumes that are fit for royalty, and dialogue that sticks true to Bard’s poetic prowess. If you’re into that old Shakespearean elegance, this film is your ticket to time travel.

Star-Crossed Chemistry

Let’s talk chemistry. Leonard Whiting and Olivia Hussey, who play Romeo and Juliet, are the poster kids for star-crossed lovers. Their chemistry sizzles like bacon on a Sunday morning. You’ll swoon, sigh, and forget that this movie was made ages ago.

Visual Poetry

Zeffirelli’s 1968 film crafts scenes that are straight-up visual poetry. Every frame is a masterpiece, from Verona’s lush landscapes to the Capulet mansion’s opulent halls. It’s like stepping into a Renaissance painting, and you won’t be able to tear your eyes away.

Soothing Sonnets

The 1968 adaptation doesn’t just nail the visuals; it captures the essence of Shakespeare’s language in all its glory. The characters’ speeches roll off the tongue like a symphony of sonnets. If you’re a word nerd, this film is a treat for your ears, with every line dripping with the beauty of Bard’s prose.

Modern Twist: 1996’s Contemporary Flair

Shaking up the scene.

Fast forward to 1996, and we’ve got director Baz Luhrmann kicking down the Shakespearean door with a modern-day adaptation. Let’s be real, Leo DiCaprio as Romeo? It’s like a ’90s dream come true. This film splices classic dialogue with modern settings, and you know what? It works like a charm.

Visual Extravaganza

Luhrmann isn’t shy when it comes to visual extravagance. The film’s got the verve of a music video on steroids. Neon signs, wild parties, and a snappier pace than your grandma’s comeback in a bingo game. It’s Shakespeare with a side of MTV and oddly satisfying.

Cultural Remix

Luhrmann’s 1996 version isn’t just a movie; it’s a cultural remix. Complete with guns and Hawaiian shirts, the modern setting bridges the gap between centuries. It’s Shakespeare made accessible, inviting a new generation to experience the tale without feeling like they’re decoding a secret language.

Unforgettable Soundtrack

If the 1996 film had a heartbeat, it’d be the rhythm of its soundtrack. Featuring tracks from Radiohead, Garbage, and Des’ree tracks, it injects the story with a vibrant energy that matches the characters’ whirlwind emotions. The music becomes another character in the story, underscoring the drama and love in every scene.

Let’s Compare and Contrast, Shall We?

The good, the bad, the 1968.

 – It’s like diving headfirst into the pages of a classic novel. The authenticity is so thick you can cut it with a dagger.

 – The chemistry between the lead actors is so palpable you’ll practically need a fan to cool off.

 – It’s a time capsule; not everyone’s into Renaissance vibes.

 – The language can be a barrier, especially if your English skills could be a lot better.

The Swag, The Oops, The 1996

 – Leo and Claire Danes ooze ’90s coolness. Their romance feels like a millennial fairy tale.

 – If Shakespearean language makes you go “Huh?”, this modern take will have you nodding like you’re at a hip-hop concert.

 – The pacing might leave you breathless—either because it’s exciting or you’re trying to keep up.

 – If you’re a purist, some of the liberties taken with the original text might feel like a Shakespearean sin.

The Final Verdict: Which One’s Your Cup of Tea?

Choosing between these two adaptations is like picking your favorite flavor of ice cream—it’s all about personal taste. If you’re all about that classic Shakespearean experience, the 1968 version will sweep you with its timeless charm. But if you’re up for a wild ride that blends old-school dialogue with modern flair, then the 1996 film is ready to knock your socks off.

So there you have it, a tale of two films, faithful to Shakespeare’s masterpiece but dripping with their unique sauce. The 1968 adaptation is a romantic throwback to the past, while the 1996 take is a modern whirlwind that’ll keep your eyes glued to the screen. Whether you’re a die-hard Shakespeare fan or a rookie just stepping into his world, both these films have something unique to offer. So, grab your popcorn and your doublet or denim jacket—because there’s room for everyone in the world of Romeo and Juliet.

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Romeo and Juliet 1968 and 1996 Movie Comparison Essay: A Tale of Two Cinematic Experiences. (2023, Sep 18). Retrieved from https://papersowl.com/examples/romeo-and-juliet-1968-and-1996-movie-comparison-essay-a-tale-of-two-cinematic-experiences/

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Literary Theory and Criticism

Home › Drama Criticism › Analysis of William Shakespeare’s Romeo and Juliet

Analysis of William Shakespeare’s Romeo and Juliet

By NASRULLAH MAMBROL on July 25, 2020 • ( 6 )

Shakespeare, more than any other author, has instructed the West in the catastrophes of sexuality, and has invented the formula that the sexual becomes the erotic when crossed by the shadow of death. There had to be one high song of the erotic by Shakespeare, one lyrical and tragi-comical paean celebrating an unmixed love and lamenting its inevitable destruction. Romeo and Juliet is unmatched, in Shakespeare and in the world’s literature, as a vision of an uncompromising mutual love that perishes of its own idealism and intensity.

—Harold Bloom, Shakespeare: The Invention of the Human

Romeo and Juliet, regarded by many as William Shakespeare’s first great play, is generally thought to have been written around 1595. Shakespeare was then 31 years old, married for 12 years and the father of three children. He had been acting and writing in London for five years. His stage credits included mainly histories—the three parts of Henry VI and Richard III —and comedies— The Two Gentlemen of Verona, The Taming of the Shrew, The Comedy of Errors, and Love’s Labour’s Lost. Shakespeare’s first tragedy, modeled on Seneca, Titus Andronicus , was written around 1592. From that year through 1595 Shakespeare had also composed 154 sonnets and two long narrative poems in the erotic tradition— Venus  and  Adonis   and  The  Rape  of  Lucrece.  Both  his  dramatic  and  nondramatic  writing  show  Shakespeare  mastering  Elizabethan  literary  conventions.  Then,  around 1595, Shakespeare composed three extraordinary plays—R ichard II, A Midsummer Night’s Dream, and Romeo and Juliet —in three different genres—history, comedy, and tragedy—signalling a new mastery, originality, and excellence.  With  these  three  plays  Shakespeare  emerged  from  the  shadows  of  his  influences and initiated a period of unexcelled accomplishment. The two parts of Henry IV and Julius Caesar would follow, along with the romantic comedies The Merchant of Venice, As You Like It, and Twelfth Night and the great tragedies Hamlet, Othello, King Lear, Macbeth, and Antony and Cleopatra . The three plays  of  1595,  therefore,  serve  as  an  important  bridge  between  Shakespeare’s  apprenticeship and his mature achievements. Romeo and Juliet, in particular, is a crucial play in the evolution of Shakespeare’s tragic vision, in his integration of poetry and drama, and in his initial exploration of the connection between love and tragedy that he would continue in Troilus and Cressida, Othello, and Antony  and  Cleopatra.  Romeo  and  Juliet   is  not  only  one  of  the  greatest  love  stories in all literature, considering its stage history and the musicals, opera, music, ballet, literary works, and films that it has inspired; it is quite possibly the most popular play of all time. There is simply no more famous pair of lovers than Romeo and Juliet, and their story has become an inescapable central myth in our understanding of romantic love.

Despite  the  play’s  persistence,  cultural  saturation,  and  popular  appeal,  Romeo and Juliet has fared less well with scholars and critics, who have generally judged it inferior to the great tragedies that followed. Instead of the later tragedies of character Romeo and Juliet has been downgraded as a tragedy of chance, and, in the words of critic James Calderwood, the star-crossed lovers are “insufficiently endowed with complexity” to become tragic heroes. Instead “they  become  a  study  of  victimage  and  sacrifice,  not  tragedy.”  What  is  too  often missing in a consideration of the shortcomings of Romeo and Juliet by contrast with the later tragedies is the radical departure the play represented when compared to what preceded it. Having relied on Senecan horror for his first tragedy, Titus  Andronicus,  Shakespeare  located  his  next  in  the  world  of  comedy and romance. Romeo and Juliet is set not in antiquity, as Elizabethan convention dictated for a tragic subject, but in 16th-century Verona, Italy. His tragic protagonists are neither royal nor noble, as Aristotle advised, but two teenagers caught up in the petty disputes of their families. The plight of young lovers pitted against parental or societal opposition was the expected subject, since  Roman  times,  of  comedy,  not  tragedy.  By  showing  not  the  eventual  triumph  but  the  death  of  the  two  young  lovers  Shakespeare  violated  comic  conventions,  while  making  a  case  that  love  and  its  consequences  could  be  treated with an unprecedented tragic seriousness. As critic Harry Levin has observed, Shakespeare’s contemporaries “would have been surprised, and possibly shocked at seeing lovers taken so seriously. Legend, it had been hereto-fore taken for granted, was the proper matter for serious drama; romance was the stuff of the comic stage.”

Shakespeare’s innovations are further evident in comparison to his source material.  The  plot  was  a  well-known  story  in  Italian,  French,  and  English  versions. Shakespeare’s direct source was Arthur Brooke’s poem The Tragicall Historye of Romeus and Juliet (1562). This moralistic work was intended as  a  warning  to  youth  against  “dishonest  desire”  and  disobeying  parental  authority. Shakespeare, by contrast, purifies and ennobles the lovers’ passion, intensifies  the  pathos,  and  underscores  the  injustice  of  the  lovers’  destruction.  Compressing  the  action  from  Brooke’s  many  months  into  a  five-day crescendo, Shakespeare also expands the roles of secondary characters such as  Mercutio  and  Juliet’s  nurse  into  vivid  portraits  that  contrast  the  lovers’ elevated lyricism with a bawdy earthiness and worldly cynicism. Shakespeare transforms Brooke’s plodding verse into a tour de force verbal display that is supremely witty, if at times over elaborate, and, at its best, movingly expressive. If the poet and the dramatist are not yet seamlessly joined in Romeo and Juliet, the play still displays a considerable advance in Shakespeare’s orchestration of verse, image, and incident that would become the hallmark of his greatest achievements.

The play’s theme and outcome are announced in the Prologue:

Two households, both alike in dignity, In fair Verona, where we lay our scene, From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes A pair of star-cross’d lovers take their life; Whose misadventur’d piteous overthrows Doth with their death bury their parents’ strife.

Suspense over the lovers’ fate is eliminated at the outset as Shakespeare emphasizes the forces that will destroy them. The initial scene makes this clear as a public brawl between servants of the feuding Montagues and Capulets escalates to involve kinsmen and the patriarchs on both sides, ended only when the Prince of Verona enforces a cease-fire under penalty of death for future offenders of the peace. Romeo, Montague’s young son, does not participate in the scuffle since he is totally absorbed by a hopeless passion for a young, unresponsive beauty named Rosaline. Initially Romeo appears as a figure of mockery, the embodiment of the hypersensitive, melancholy adolescent lover, who  is  urged  by  his  kinsman  Benvolio  to  resist  sinking  “under  love’s  heavy  burden”  and  seek  another  more  worthy  of  his  affection.  Another  kinsman,  Mercutio, for whom love is more a game of easy conquest, urges Romeo to “be  rough  with  love”  and  master  his  circumstances.  When  by  chance  it  is  learned that Rosaline is to attend a party at the Capulets, Benvolio suggests that they should go as well for Romeo to compare Rosaline’s charms with the other beauties at the party and thereby cure his infatuation. There Romeo sees Juliet, Capulet’s not-yet 14-year-old daughter. Her parents are encouraging her  to  accept  a  match  with  Count  Paris  for  the  social  benefit  of  the  family.  Love  as  affectation  and  love  as  advantage  are  transformed  into  love  as  all-consuming, mutual passion at first sight. Romeo claims that he “ne’er saw true beauty till this night,” and by the force of that beauty, he casts off his former melancholic  self-absorption.  Juliet is  no  less  smitten.  Sending her nurse  to  learn the stranger’s identity, she worries, “If he be married, / My grave is like to be my wedding bed.” Both are shocked to learn that they are on either side of the family feud, and their risk is underscored when the Capulet kinsman, Tybalt, recognizes Romeo and, though prevented by Capulet from violence at the party, swears future vengeance. Tybalt’s threat underscores that this is a play as much about hate as about love, in which Romeo and Juliet’s passion is  increasingly  challenged  by  the  public  and  family  forces  that  deny  love’s  authority.

The  first  of  the  couple’s  two  great  private  moments  in  which  love’s  redemptive and transformative power works its magic follows in possibly the most famous single scene in all of drama, set in the Capulets’ orchard, over-looked by Juliet’s bedroom window. In some of the most impassioned, lyrical, and famous verses Shakespeare ever wrote, the lovers’ dialogue perfectly captures the ecstasy of love and love’s capacity to remake the world. Seeing Juliet above at her window, Romeo says:

But soft! What light through yonder window breaks? It is the East, and Juliet is the sun! Arise, fair sun, and kill the envious moon, Who is already sick and pale with grief That thou her maid art far more fair than she.

He overhears Juliet’s declaration of her love for him and the rejection of what is implied if a Capulet should love a Montague:

O Romeo, Romeo! wherefore art thou Romeo? Deny thy father and refuse thy name! Or, if thou wilt not, be but sworn my love, And I’ll no longer be a Capulet. . . . ’Tis but thy name that is my enemy. Thou art thyself, though not a Montague. What’s Montague? it is nor hand, nor foot, Nor arm, nor face, nor any other part Belonging to a man. O, be some other name! What’s in a name? That which we call a rose By any other name would smell as sweet .So Romeo would, were he not Romeo call’d, Retain that dear perfection which he owes Without that title. Romeo, doff thy name; And for that name, which is no part of thee, Take all myself.

In  a  beautifully  modulated  scene  the  lovers  freely  admit  their  passion  and  exchange vows of love that become a marriage proposal. As Juliet continues to be called back to her room and all that is implied as Capulet’s daughter, time and space become the barriers to love’s transcendent power to unite.

With the assistance of Friar Lawrence, who regards the union of a Montague and a Capulet as an opportunity “To turn your households’ rancour to pure  love,”  Romeo  and  Juliet  are  secretly  married.  Before  nightfall  and  the  anticipated consummation of their union Romeo is set upon by Tybalt, who is by Romeo’s marriage, his new kinsman. Romeo accordingly refuses his challenge, but it is answered by Mercutio. Romeo tries to separate the two, but in the  process  Mercutio  is  mortally  wounded.  This  is  the  tragic  turn  of  the  play  as  Romeo,  enraged,  rejects  the  principle  of  love  forged  with  Juliet  for  the claims of reputation, the demand for vengeance, and an identifi cation of masculinity with violent retribution:

My very friend, hath got this mortal hurt In my behalf; my reputation stain’d With Tybalt’s slander—Tybalt, that an hour Hath been my kinsman. O sweet Juliet, Thy beauty hath made me effeminate And in my temper soft’ned valour’s steel!

After killing Tybalt, Romeo declares, “O, I am fortune’s fool!” He may blame circumstances for his predicament, but he is clearly culpable in capitulating to the values of society he had challenged in his love for Juliet.

The lovers are given one final moment of privacy before the catastrophe. Juliet, awaiting Romeo’s return, gives one of the play’s most moving speeches, balancing sublimity with an intimation of mortality that increasingly accompanies the lovers:

Come, gentle night; come, loving, black-brow’d night; Give me my Romeo; and, when he shall die, Take him and cut him out in little stars, And he will make the face of heaven so fine That all the world will be in love with night And pay no worship to the garish sun.

Learning the terrible news of Tybalt’s death and Romeo’s banishment, Juliet wins her own battle between hate and love and sends word to Romeo to keep their appointed night together before they are parted.

As Romeo is away in Mantua Juliet’s parents push ahead with her wedding to Paris. The solution to Juliet’s predicament is offered by Friar Lawrence who gives her a drug that will make it appear she has died. The Friar is to summon Romeo,  who  will  rescue  her  when  she  awakes  in  the  Capulet  family  tomb.  The Friar’s message to Romeo fails to reach him, and Romeo learns of Juliet’s death. Reversing his earlier claim of being “fortune’s fool,” Romeo reacts by declaring, “Then I defy you, stars,” rushing to his wife and breaking society’s rules by acquiring the poison to join her in death. Reaching the tomb Romeo is surprised to find Paris on hand, weeping for his lost bride. Outraged by the intrusion  on  his  grief  Paris  confronts  Romeo.  They  fight,  and  after  killing  Paris, Romeo fi nally recognizes him and mourns him as “Mercutio’s kinsman.” Inside the tomb Romeo sees Tybalt’s corpse and asks forgiveness before taking leave of Juliet with a kiss:

. . . O, here Will I set up my everlasting rest And shake the yoke of inauspicious stars From this world-wearied flesh.

Juliet  awakes  to  see  Romeo  dead  beside  her.  Realizing  what  has  happened,  she responds by taking his dagger and plunges it into her breast: “This is thy sheath; there rest, and let me die.”

Montagues, Capulets, and the Prince arrive, and the Friar explains what has happened and why. His account of Romeo and Juliet’s tender passion and devotion shames the two families into ending their feud. The Prince provides the final eulogy:

A glooming peace this morning with it brings. The sun for sorrow will not show his head. Go hence, to have more talk of these sad things; Some shall be pardon’d, and some punished; For never was a story of more woe Than this of Juliet and her Romeo.

The  sense  of  loss  Verona  and  the  audience  feels  at  the  lovers’  deaths  is  a  direct  result  of  Shakespeare’s  remarkable  ability  to  conjure  love  in  all  its  transcendent power, along with its lethal risks. Set on a collision course with the values bent on denying love’s sway, Romeo and Juliet manage to create a dreamlike, alternative, private world that is so touching because it is so brief and perishable. Shakespeare’s triumph here is to make us care that adolescent romance matters—emotionally,  psychologically,  and  socially—and  that  the  premature and unjust death of lovers rival in profundity and significance the fall of kings.

Romeo and Juliet Oxford Lecture by Emma Smith

Analysis of William Shakespeare’s Plays

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Romeo And Juliet Play And Movie Comparison Film Studies Essay

Published Date: 23 Mar 2015

Disclaimer: This essay has been written and submitted by students and is not an example of our work. Please click this link to view samples of our professional work witten by our professional essay writers . Any opinions, findings, conclusions or recommendations expressed in this material are those of the authors and do not necessarily reflect the views of EssayCompany.

The crown of English literature "for plays," embedded with timeless and priceless gems, rests certainly on the head of William Shakespeare. Shakespeare has created masterpieces in every possible genres of play. Romeo and Juliet is an everlasting (or ever grey due to tragic over tones?!) play which draws undivided or unparallel attention of the writers even during this modern era.

Apart from enjoying immense popularity when it was enacted as a drama during the early part of the sixteenth century, the beginning of mid twentieth century witnessed this play being converted into movies in 1968, and 1996. Both the movies stayed faithful to the original storyline; however, the 1996 version, Baz Lurhmann adopted the storyline to reflect the revealing trend of dispute among two feuding families. It is an exciting task to make a detailed study of the play, and its comparison in different aspect with the immensely popular 1996 version directed by the Australian, Baz Lurhmann.

Romeo and Juliet, though termed as tragedy carries more of Shakespeare's comedy elements. Love is obviously the dominating and most vital theme of this play. The whole play is intertwined on the romantic love between Romeo and Juliet at their first sight. In this play, love supersede other characteristics such as loyalty, emotions etc. In this play, the lovers deny the family and the entire world and proceed with their marriage. This is evident from the words of Juliet, "Or if thou wilt not, be but sworn my love, I / And I'll no longer be a Capulet" (Romeo and Juliet. 2.2. 38-39).

Romeo abandons his close friends, Mercutio and Benvolio and even risks his life and returns to Verona for the sake of his lady love even after being sent in exile. Love becomes a riding force for every incident narrated in the play. The lovers are emotionally triggered and take impulsive decisions; by this, they go against the norms of this world. Also, love is described as a religion. This is clear in the lines describing Romeo and Juliet's first meeting. The readers can observe that Juliet has no words to explain her love for Romeo and thus refuses to describe it in words. "But my true love is grown to such excess / I cannot sum up some of half my wealth" (Romeo and Juliet 2.6. 33-34).

Thus, it is clear that both the lovers are not able to explain their love and differentiate it with the society, family and religion. Their inability to draw line between their love and other ties can be said as a vital reason for their tragic end. By this, their love takes a back seat and death and violence occupies the front seat. The delicate ingredients of family feud, immature teenage aspirations and above all the raging love between the teenagers provides a great and ideal platform for Shakespeare to come up with an immortal tragedy. It is quite natural that film makers were inevitably attracted and motivated to make an interesting movie from the play.

The project of making a movie on Romeo and Juliet certainly has some challenges to be encountered. Firstly, in the narrative, the vivid descriptions of the various scenarios are brought out in a several lines of verse; while the same can be made into a visual presentation involving much lesser times and words. Secondly, certain specific features in the realm of plays such as soliloquy are brought out in a distinctive style but picturization of the same is a different proposition altogether as the technical advancements has facilitated to project the actor's expressions and bodily gestures by way of close-up shots and suitable editing in a forthright manner which is not possible in the play. Again, the advanced film making technique with avenues like lightning, wide variety of locales, costumes, advanced make-up facilities, make-up for an effective combination to produce excellent visual effects as compared to the limitations in the enactment of the play. Thus, the avenues are open for effecting the most picture perfect visualization.

Baz Luhrmann has been successful in innovating the adaption of the screenplay in a different background scenario drawing a unique visual style, reflecting the politics and trends that existed in a combination of 1940's, 1970's and 1990's. Luhrmann deposits the play in the modern Verona beach; this can also be interpreted as reminding part decaying Miami and part Mexico City as 'frequent and high crime rate' areas (Berardinelli, 1996). Accordingly, fast cars with roaring engines in the movie replace the horses in the play. Guns come in to occupy the place of swords and daggers. This kind of a hybrid with an old play in new setting makes a startling impression on the viewer.

While trying to bring out the director's intent, it would be in order to bring out certain important scene of the play, especially pertaining to the love-scene. The way it has been brought out in picturization acquires a special credit. Firstly, 'the balcony scene' is considered by many scholars to be the highlight of the play where the impact of youth love is brought out vibrantly to be stronger than all the forces that work against it. Luhrmann takes Shakespeare's use of 190 lines and reduces it to 90 lines. He also switches the venue from the orchard to the swimming pool. However, he manages to retain the main intent of the lovers ("Modern Film Adaptations of Shakespeare"). Again, the camera work here is quite impressive: in usual cases the camera is moving frantically, however here the camera remains fixed in a tight close-up as Romeo's dialogue, "But, soft! What light through yonder window breaks?" (Romeo and Juliet 2.2.2), and the camera stays extremely close to the lovers as they discover each other and realize how much they are attracted to each other and how deep in love they are with each other. This scene take place in the pool courtyard of the Capulet mansion and is noticeably more muted than other scenes; the importance of words and feelings gain ascendancy allowing Shakespeare's poetry to come through in full bloom ("Modern Film Adaptations of Shakespeare").

While essaying on the director's perspective, it is worthwhile to discuss about the technical credits of the movie: the camera is always seen roving around; there are many instances in the movie where rapid cuts and screaming soundtrack might make the viewer doubt whether he is watching a rock-video! Also, the camera tricks, the special effects such as a roiling storm and the rebellious splash of colors right through the movie gains priority relegating the romantic theme into the background, in the process, lose certain more intangibles of intricate romance. This is more manifested in the first few scenes of the movie and tends to get corrected as it progresses.

In conclusion, any adaptation of a Shakespeare play is determined by two major factors. The first is the competence of the director. The second factor is the ability of the main cast members. Any other innovations and unconventional flourishes applied by the director and technicians will not carry any significance. With these viewpoints, the litterateur can appreciate that the play 'Romeo and Juliet' has fallen in the capable hands of directors and actors such as Luhrmann, DiCaprio and Danes. This 1996 film version of the play, despite being interpreted as a loud and brash version, and despite being unacceptable to the high-level experts as a classic, it has certainly helped widen their perspective to venture into any movie that bears the credit 'based on play by William Shakespeare'.

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Home — Essay Samples — Literature — Romeo and Juliet — Comparative Analysis Of Gnomeo And Juliet And Romeo And Juliet

Comparative Analysis of Gnomeo and Juliet and Romeo and Juliet

• Categories: Romeo and Juliet William Shakespeare

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Words: 961 |

Published: Dec 16, 2021

Words: 961 | Pages: 2 | 5 min read

• Kleij, S. (2020). “What’s in a Gnome?”: Gender, Intertextuality, and Irreverence in Gnomeo and Juliet. In Playfulness in Shakespearean Adaptations (pp. 231-247). Routledge. (https://www.taylorfrancis.com/chapters/edit/10.4324/9780429288807-17/gnome-sonja-kleij)
• Tuan, H. C. (2013). Media Representing Shakespeare: Adaptation, Inter-Textuality, and Gender. Journal of Literature and Art Studies, 3(2), 71-79. (https://www.davidpublisher.com/index.php/Home/Article/index?id=4305.html)
• Geal, R. (2018). Anomalous foreknowledge and cognitive impenetrability in Gnomeo and Juliet. Adaptation, 11(2), 111-121. (https://academic.oup.com/adaptation/article-abstract/11/2/111/3855688)
• van Valkenburg, A. M. (2012). A Gnome for a Gnome: A Closer Look at Gnomeo and Juliet as an Adaptation of William Shakespeare’s Play (Bachelor's thesis). (https://studenttheses.uu.nl/handle/20.500.12932/11416)
• King, L. The Hidden Value in Repetitive Culture. (https://sites.williams.edu/engl-117-fall16/uncategorized/the-value-behind-a-repetitive-culture/)

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StarTribune

Review: latino update of 'romeo and juliet' in minneapolis thrills as 'rent'-like musical.

In a new take on "Romeo and Juliet," Juliet has second thoughts about joining Romeo in the afterlife. And with good reason. She and Romeo agree on the need to change the unfair status quo of haves and have-nots, and to heal the age-old grudges that made their love for each other verboten.

There's a lot more work do, and she's a can-do go-getter.

This new Juliet is at the center of "Romeo & Juliet: Love in a Time of Hate," a Latino update on the classic tale running through Sunday at Luminary Arts Center in Minneapolis . She's not posing or dancing to the latest hooks, but she's Instragram- and TikTok-ready. As played with electricity by sparkplug actor Paulina Aparicio-Rosales, she has agency and power. She makes the moves on Romeo.

Directors sometimes say that what they like best about William Shakespeare is that he doesn't talk back. As interpreters have stretched and parsed the Bard's works every which way over the decades, we can imagine the playwright rolling over in his grave.

Teatro del Pueblo and the Bach Society have given him more reasons to keep rolling.

Alberto Justiniano, who co-directs the show with Harry Waters Jr., has rewritten not only the ending of Shakespeare's tragedy but much of what precedes it. Juliet has more lines, some drawn from Shakespeare's sonnets. She sings, although Aparicio-Rosales is more confident in her acting than in bringing character and emotion to her musical numbers.

And this Juliet, a would-be revolutionary, is well matched with the casually debonair Samuel Osborne-Huerta as Romeo.

"Love in a Time of Hate" resets the tragedy in the desert milieu of Nogales, Mexico. There, Romeo is a graffiti artist and Juliet a privileged 16-year-old. The friar who counsels them has been replaced by a personal injury lawyer. And there's music in the show, songs delivered by the company and by Santi (Isaac Quiroga), a time-traveler from today who sometimes freezes the action and cracks wise on the characters.

It's all genuinely interesting and engaging stuff that reminds me of an early "Rent." The live music, led by Marco Real-D'Arbelles, suggests a potential vital show in making. And the company of actors includes some gems. Julia Diaz is particularly commanding as Lady Capulet while Abigail Chagolla brings consolation and understanding to the Nurse.

Ben Bailey delivers a magnetic performance as Mercutio. He interprets the character like a piece of music, and moves to rhythms that he alone is hearing.

"Love in a Time of Hate" feels like something that's still in development. But it offers thrills now that would perhaps even gladden the ghost of the Bard.

'Romeo & Juliet: Love in a Time of Hate'

When : 7 p.m. Thu.-Sat., 2 p.m. Sun.

Where : Luminary Arts Center, 700 N. 1st St., Mpls.

Tickets : $35-$39 with pay-what-you-can performances on June 27-28. luminaryartscenter.com .

Rohan Preston covers theater for the Star Tribune.

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What to See on London Stages This Summer

British theater recommendations for visitors and residents of all ages — and inclinations.

By Matt Wolf

The critic Matt Wolf has been covering theater in London for The Times for over 20 years.

London’s theaters offer something for everyone. Whether in big West End venues or on stages tucked away above a pub, the city’s shows include the classics, new plays and some productions that defy classification. Open air playhouses attract audiences willing to brave the unpredictable summer weather, and venues spread throughout the city make for an accessible theater landscape that extends far beyond the heavily trafficked tourist hot spots.

Whether you’re looking for frothy musicals or fiercely charged political writing, chances are your wishes can be answered somewhere around town. Below, in seven categories, are some of the shows vying for the attention of visitors and residents seeking out London theater this summer.

Give Me Serious Drama

Few London playhouses generate as much buzz as the Almeida, and expectations are high for its run of this new play from the Australian playwright Kendall Feaver, whose theatrical debut, “The Almighty Sometimes,” impressed British critics when it played in Manchester, England, in 2018 . Feaver’s latest is set on a university campus rocked by sexual assault allegations, and Polly Findlay directs a cast led by Phoebe Campbell and Justine Mitchell . Through July 20 at the Almeida Theater.

The Boys from the Blackstuff

The regional accents may prove a challenge — especially if English isn’t your first language — but there’s no denying the passion and power that course through James Graham’s stage adaptation of this era-defining 1982 British TV show. Through a community of Liverpool road builders’ struggles, Kate Wasserberg’s empathic production reminds us that employment is crucial to self-esteem. Through Aug. 3 at the Garrick Theater.

Buying tickets

The box office is often the best port of call, if you want to avoid online fees or get “rush” seats that are sometimes available shortly before curtain up. Various websites, including whatsonstage.com, sell tickets alongside reviews and features.

Reusable Sippy Cups may be the norm on Broadway, but they are rare outside the United States. “Interval drinks,” as intermission beverages are known in Britain, are often served in actual glasses that can sometimes be taken into the auditorium and which can be ordered before the performance to avoid a crush at the bar in the break.

The pleasures of a free Playbill don’t exist in London, where programs — not Playbills, which is an American brand — must be purchased. Some theaters have gone paperless and make program information available only by scanning a QR code or looking online.

Refunds and exchanges

These policies vary venue to venue, and sometimes show to show. Some theaters will issue a credit that can be used for other productions under the same roof, but London is stricter than New York about offering money back if a star is absent.

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