Romeo and Juliet Movie Comparison

In Franco Zeffirellis 1968 adaptation ofRomeo and Juliet, is a traditional adaptation of Shakespeares original Romeo and Juliet, with some variations. Baz Luhrmann directed the 1996 version, overly known as the MTVRomeo Juliet. This version is rattling modernized, further view ass the language intact with few changes. There are many differences between ZeffirellisRomeo and Julietand the Signet version ofRomeo and Juliet. Romeos entire speech that begins Alas that love, whose view is muff lead put away, Should without eyes see pathways to his will (at act 1 scene 1 line 174) is deleted.With the deletion of these lines, the auditory modality, is non privy to his longing for Rosaline. Even though friar Lawrence mentions Rosaline later in the movie, we are not shown Romeo as a boy whose heart is easily captured, exclusively rather, ready to be caught. In Luhrmanns version ofRomeo Juliet,this scene, even though cut in some ways, is shown with Romeo writing in his diary. He ta lks of his love, nevertheless he does not seem like hes in love, but rather a repressed adolescent or a characteristic teen. Romeo doesnt confide later to Benvolio as in the Signet version.In the MTV version ofRomeo Juliet,the Nurses post is cut considerably. Her speech about weaning Juliet, and Juliet falling with her prototypical steps, and the reference to the earthquake are deleted. This is a major change because it completely changes the dynamics of the relationship between the Nurse and Juliet. We do not get the comparable sense of closeness between the two as we do in the Zeffirelli characterization. We also do not see the scene where the Nurse tells about Romeos banishment and Tybalts close. The reason for this is because of the speed of the film.Luhrmann keeps the pace of this film at very high speeds, and when you opine thorn at the text, the Nurses part slows the pace considerably. Shes older, shes slower, and shes acting to extend her importance to Juliet and Romeo, but in the MTV Version, her role is cut drastically, which alone contributes to Juliets isolation. In two movies, the presence of Paris at Juliets grave is discluded. This is probably for the better. While reading the play, it seemed like overkill, like just one more obstacle to hamper Romeo from acquiring to Juliet. Even though the audience know the outcome, they are still anxious to see Romeo get to her.Plus it helped keep the movies within two hours, give or take some. We also do not get the lamentation speeches from Juliets family after her fake death. Both films go straight to the funeral. The film allows directors to keep the audience from investing too often grief for the family by swiftly showing the funeral. The lamentation speeches of Shakespeares plays were needed, because they did not receive the same visual choice that the filmmakers of today have. Romeo, being one of the protagonists ofRomeo and Juliet, is played very contrastingly between Leonardo De Ca prio and Leonard Whiting.While Leonard Whiting plays the typical adolescent to a tee, Leonardo De Caprio has practically more attainment and expresses his anguish in much more dramatic ways. For example, when Romeo being played by De Caprio is challenged by Tybalt he knows the consequence of his fighting and tries with all his might to hamper fighting with Tybalt, even though Tybalt is kicking his butt. We get the impression that he is truly act to befriend him and make him understand that fighting should be leave aside and that at that place will be great regrets. In Zeffirellis version, Leonard Whiting plays a younger spirited Romeo.When Whiting is challenged by Tybalt, he is playful and does try to prevent a fight, but it is more with playful words and not because he knows the consequence of the fight or duel. We also get the touch perception that De Caprio is much more mature than Whiting. While Whiting plays a lovesick kid from an upper class family, he still appears to be naive and does not bring up to the depths that De Caprio does. From the very beginning, De Caprio is seen as a street smart, savvy, mature young man. His writing in his diary shows us depths that does not show on Whiting, where he is all twirling a twig of flowers.The balcony scene is anformer(a) scene that shows the differences between the two actors. In the 68 version, Whiting is very childish and playful. He plays around in the trees age hes waiting for Juliet. This reminded me of the young Kevin Costner inSilveradowhen he was swinging from the jail cell bars, showing his youth. He is also like a puppy, very young and unripe he seems unconcerned about his safety he only has eyes for Juliet. We potentiometer see that is his only thought or concern. When he leaves we see him bound and skipping, and once again we are conscious(predicate) of his youth. Leonardo De Caprio shows much more passion and desire.We do not get the sense of immaturity with De Caprio, but rather a se nse of manhood. His eyes show deep desire, like he knows what she looks like naked. He also is very sure and thrilled, he is aware of the riskiness by his presence and takes caution to be careful. Whiting seemed oblivious to his danger. His only concern is his love and desire for Juliet. De Caprio is more aware of the consequences of their love Whiting is only aware of his love. One of the most important relationships inRomeo and Julietis the relationship between the Nurse and Juliet. In Act 1, Scene 3 we are introduced to the most burnished character of the play, the Nurse.With her speech that begins Even or odd, of all days in the year, Come Lammas Eve at night shall she be fourteen. (1. 3. 16-48), we learn that she nursed Juliet, she disconnected a child the same age as Juliet, and also lost her husband. The Nurses role is very important to Juliet. The Nurse is the one that is there for Juliet, she is her confidant, she is her friend. This is especially important near the end of the play when Juliet realizes she is alone after the Nurse tells her to go ahead and commit bigamy and marry Paris. In ZeffirellisRomeo and Julietthe Nurse plays the role of the Nurse as its written in the play.She is affectionate she is giggly, and loving. We see Juliet and the Nurse being openly affectionate with each other and can tell from this film that Juliet depends on the Nurse. This is especially so when Lady Capulet tells Juliet about the marriage to Paris. After Juliet gives her Ill look to like, if looking liking move (1. 3. 97) speech, she looks to the Nurse for approval. After the Nurse smiles back at Juliet, we see relief and trust in Juliets eyes. In Luhrmanns version ofRomeo Juliet,we get a very different version of the Nurse, and a very different version of Juliet because of the changes.The Nurses speech about how she weaned Juliet and the reference to the earthquake are omitted. The affection that is so apparent in the Zeffirelli version is non-existent in th e MTV version. This changes the character of Juliet considerably. She is perceive as more isolated and alone from the very beginning. We see her as a teen that does not have someone to confide in other than God. When the Nurse tells her to commit bigamy, we do not get the same sense of betrayal as we do with the Zeffirelli version. There Juliet was extremely pained and had to take a stand for herself, by herself, for the first time in her life.As the Nurse is Juliets confidant, the Friar is Romeos trusting friend. In the MTV version ofRomeo Juliet, Pete Postiethwaite plays a very different Friar compared to the 1968 version and the text. Pete Postiethwaite plays a tattoo bearing, Jerry Garcia-like horticulturist who is Romeos only confidant. Milo OSheas version of the Friar is very sympathetic and caring. He only has the best of intentions in mind. Friar Lawrence is very important to Romeo. The Friar is the one who guides him and also picks him up when he is down.Even though some (prenominal) Friars are different in appearance and personality, I believe they both portray a very sympathetic, caring friend to both Romeo and Juliet. The Friar may ultimately be the one to blame, but he only led Romeo and Juliet because he believed their union would bring the feuding families together. I believe both played a regretful Friar when it all ended. The 96 version shows Friar Lawrence frantically trailing the express letter. He is sweating and projects urgency into his voice, albeit his role in the church is omitted.In the 68 version, when the Friar sees the Page outside the grave accent, he frantically rushes to Juliets side. He is careful with Juliet but in the end must abandon her to escape blame. at a time again Juliet is abandoned. The most dynamic conflict is between Tybalt and Romeo. Tybalt is not nearly as literate or well spoken as Romeo, plus he harbors much hate for Romeo. In both films we get the sense that Tybalt might be aware of Romeos and Juliets love during Capulets party, even though it is not played out any farther, but may be the fuel for Tybalts challenge.In Zeffirellis film, Romeo, Leonard Whiting, is oblivious to Tybalts challenge and when he is called a Villain he does not seem fazed, while Tybalt, played by Michael York, is extremely perplexed. He does not understand why he is not getting a reaction from Romeo. He came ready to fight, and when Romeo does not face his challenger, Tybalt tries to provoke Romeo by slapping his hand away and smelling his own, as if Romeo has a stench. precisely Romeo is still not provoked, and his friend Mercutio steps up to the plate for him. The fight between Mercutio and Tybalt is light hearted and playful.The labour is laughing and cheering them on. The only one who sees the seriousness is Romeo, who is trying to stop them. Once Mercutio is killed, Romeo is fueled and goes after Tybalt. The conflict for Romeo is revenge for his friends death. The fight between Romeo and Tybalt takes o n a much more serious tone the crowd is no longer cheering and laughing. The anger and hatred show in both characters. They are fighting till the end. In Luhrmanns version, Tybalt, played by whoremaster Leguizamo, is very much like a gang member whose mind is set on destroying Romeo. He appears much more dangerous and dark and looming.When Romeo, De Caprio, appears, he is instantly aware of Tybalts hatred and is concerned for both their safeties. Tybalt is determined to go after Romeo, whether or not Romeo wants to fight. When Romeo tries to shake his hand, Tybalt slaps it away and attacks Romeo from behind when Romeo starts to walk away. Romeo keeps let loose to stop, he does not want to fight, but Tybalt is relentless. It isnt until Mercutio steps in that the scene changes to their fight and Mercutios death. Mercutios death is what fuels Romeo to fight and go after Tybalt. Romeo shows courage and hate, and hes screaming at Tybalt.It is highly emotional and charged. Romeo is awar e of his consequences if he goes farther, but Tybalt pushed him to the limit. Then he kills Tybalt. De Caprio instantly regrets his actions. The setting for Zeffirellis film is in pure Verona. The set has many domineering walls and tons of concrete. It gives the feeling of coldness. The only warmth is the balcony scene, with the trees and soft lighting. The setting keeps the audiences attention on the actors and helps them to see the actors as Shakespeare may have directed them. In Luhrmanns version, the town is called Verona, but resembles downtown Los Angeles more than Italy.The set is current and up to date. It did not try to recreate Shakespeare, but rather, to show how Shakespeare evolves. The physiological location of this film helps to understand the story better. It uses our own experiences and our own visual setting, and even though the language is still hard to understand, the setting brings it all together. Luhrmann handles the death scene very differently from the text and ZeffirellisRomeo and Juliet. Luhrmanns version is much more intense and more tragic. It begins with Romeo, De Caprio, fleeing from the cops. There is a lot of action, with noise and intense music, to keep the audience in suspense.We even see the apothecary scene which is deleted from the 68 version. When Romeo gets to the church he takes a man hostage before he enters the church. This also adds to the suspense. Once inside the church, and not a tomb, Romeo shows many of his emotions through his facial expressions. We can see the fear and foreboding in his eyes. The church is tacky with neon crosses and lights do as candles. When Romeo finally reaches Juliet, Claire Danes, he shows concern and anguish in his eyes over her death. He is crying, and the audience can see his pain. He lies next to her, pets her and cries uncontrollably.We can tell he understands that death is final. Juliet begins to call down from her self-induced sleep right as Romeo takes his deadly poison. We wa nt Romeo to see Juliet is still awake, but he is too late. The look in his eyes as he becomes aware of Juliet is heart wrenching. Its that realization that he has made a mistake. While Romeo is still alive, Juliet whispers her line O nut Drunk all and left no friendly drop to help me after? I will kiss thy lips This final kiss is so winsome and so desperate. If only Romeo saw Juliets hand move. Juliets choice of weapon in this movie is a revolver, rather than a dagger.She blows her brains out. In ZeffirellisRomeo and Juliet, the scene is not changed much from the text, except we do not see Romeo, Leonard Whiting, go to the apothecary. As mentioned previously, the only omission is Paris as it is in the Luhrmann film otherwise, it is true to Shakespeare. Romeo breaks the door of the tomb down with a rock. We do not get the same sense of urgency as we do in the MTV version. The tomb is dark and dingy and dear of dead people. When he sees Juliet, Olivia Hussey, he is still very child like and actually smiles. This gives the audience a sense that he does not realize the finality of death.He tries to awaken Juliet with soft, cooing words. He does not seem serious until he sees Tybalt, who is not present in the Luhrmann film. At this point, he makes his final speech and says good-bye to life. This is where we get the feeling that Romeo is finally getting it death is the end, and there is no turning back. When he takes his last kiss from Juliet, he cries for the first time and does show anguish. In the Zeffirelli version, the Friar comes into the tomb right as Romeo dies. This scene is omitted from the 96 version. The Friar sees the outcome of his actions.He takes responsibility for the fate of these children. When Juliet wakens he tries to protect her from the news of Romeos death. He pulls her gently away from where Romeo is lying. But he fails to protect her, and she finds Romeo all the same, at which point the Friar leaves. Juliet looks at Romeo with concern and confusion. She kisses him, and then cries like a child at the fact that he is gone and she is there. She kisses him all over his face she does not want to give up, but then she hears a noise and finds the dagger. The final scene with them dead seems to realize them they will be eternally beautiful.