Baz Luhrmanns Romeo And Juliet Review Film Studies Essay

Baz Luhrmanns Romeo And Juliet Review Film Studies Essay Baz Luhrmann brings a unique visual style to William Shakespeare’s renaissance tragedy â€Å"Romeo and Juliet†. Set in a modern Verona Beach, Luhrmann sets the assertive and trendy tone of his adaptation within a decaying Miami City. Within minutes, the opening TV prologue hurls us into the white-hot intensity of the two warring families, bombarding the audience with chaotic action scenes and passion. Constructing an edgy and dynamic environment, his brash interpretation uses rapid cuts and erratic zooming techniques to create a comic strip style sequence against the multicultural backdrop of the graffiti scattered streets of Verona. Though effective, the restlessness of the camera becomes confusing, slicing the action into short, sharp images that can mystify rather than illuminate. Such fervent action so soon into the film is dizzying and unexpected. Luhrmann attracts the audience with his lively cinema style, speeding up the action to hype up the confrontation and t he rivalry of the two families alongside an intense soundtrack of contemporary and popular music. As a contemporary film director, Luhrmann clearly values the younger audience who would usually only come into contact with Shakespeare in a school environment. This could explain the roaring energy of car engines and elaborate guns instead of horses and swords originally used in earlier productions. Encompassing the elegance of Shakespeare’s text, Luhrmann introduces the â€Å"star crossed lovers† in a tender exchange of affectionate eye contact across the shimmering light of an aquarium. The pair follow each other across the length of the glass in an enduring and delicately youthful and romantic moment, capturing the innocence of the fated pair. Luhrmann creates a sensual and glamorously romantic atmosphere whenever the lovers meet alone. The balcony and swimming pool scene in particular surrounds the pair in a glimmering sheen of water and light. Luhrmann’s use o f atmospheric lighting leaves the audience to swoon, drinking in the glow of the dreamy eyed couple as they exchange their most iconic and enduring dialogue. Though their love is prohibited by tradition, ego and prejudice in the society of Verona, Luhrmann exposes Shkespeare’s drama to a contemporary world without limits, modernising the play with radical scenes of drug use, drag queens and public brawls. A couple so concerned with the traditional morals of their families in a world of law breaking and promiscuity comes as a stark contrast which at times, is unconvincing. As the audience enjoy the rowdy and loose morality at the Capulet Ball, it is initially somewhat difficult to believe that two young people in love would not act upon their passionate attraction. However, the undeniable beauty of the couple’s love is infectious. As they lie in the church lit by thousands of candles, the beauty of Shakespeare’s romantic tale is undeniable in the soft, atmospheri c style with which Luhrmann combines light and opulent religious design to glamorize the tragic scene in which the love affair comes to an end. The language used in this film is lifted from the pages of Shakespeare’s text; which is surprising and pleasing as the dialogue fits seamlessly into the style of the film. Luhrmann has stripped the dialogue right down the necessities in order to sell to a commercial younger audience who may not understand the complexities of the original dialogue. The bare bones of the text are delivered confidently, notably by Friar Lawrence. Actor 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 turn the â€Å"household’s rancour to pure love†. Similarly, Harold Perrineau’s portrayal of Mercutio adds an exotic and audacious tempo to the film. Perrineau portrays him as entrancing and compelling, emphasising Shakespeare’s skilfully witty character, which becomes most poignant during his speech before they are due at the house of Capulet. The volatile style in which he presents this famous speech builds from a jovial and bawdy exchange with Romeo at the steps of a run-down theatre, to an explosive and passionate conclusion. Delivered naturally, Luhrmann heightens suspense by climaxing the speech with a furiously bright light and sound of a single firework. The audience are brought to a peak of tension and anticipation, unsure where this volatile character will take them next.