Romeo and Juliet Movie Comparison

Romeo and Juliet Film Contrast

In Franco Zeffirelli’s 1968 version of Romeo and Juliet, is a standard adjustment of Shakespeare’s original Romeo and Juliet, with some variations. Baz Luhrmann directed the 1996 version, also referred to as the MTV Romeo † Juliet. This variation is very up-to-date, but keeps the language undamaged with few changes. There are numerous differences between Zeffirelli’s Romeo and Juliet and the Signet version of Romeo and Juliet. Romeo’s entire speech that begins “Alas that love, whose view is muffled still, Must without eyes see paths to his will!” (at act 1 scene 1 line 174) is deleted.

With the deletion of these lines, the audience, is not privy to his longing for Rosaline. Although Friar Lawrence points out Rosaline later in the film, we are not shown Romeo as a young boy whose heart is easily captured, however rather, all set to be caught. In Luhrmann’s variation of Romeo † Juliet, this scene, despite the fact that cut in some ways, is shown with Romeo composing in his journal. He broaches his love, but he does not appear like he remains in love, however rather a repressed adolescent or a common teenager. Romeo does not confide later on to Benvolio as in the Signet version.

In the MTV variation of Romeo † Juliet, the Nurse’s function is cut substantially. Her speech about “weaning” Juliet, and Juliet falling with her first steps, and the recommendation to the earthquake are erased. This is a significant change because it completely alters the dynamics of the relationship in between the Nurse and Juliet. We do not get the exact same sense of closeness in between the 2 as we carry out in the Zeffirelli movie. We also do not see the scene where the Nurse outlines Romeo’s banishment and Tybalt’s death. The reason for this is since of the speed of the film.

Luhrmann keeps the rate of this film at very high speeds, and when you look back at the text, the Nurse’s function slows the pace significantly. She’s older, she’s slower, and she’s trying to extend her importance to Juliet and Romeo, but in the MTV Variation, her role is cut drastically, which just adds to Juliet’s isolation. In both movies, the presence of Paris at Juliet’s tomb is discluded. This is probably for the much better. While checking out the play, it appeared like overkill, like just one more obstacle to prevent Romeo from getting to Juliet. Even though the audience know the outcome, they are still nervous to see Romeo get to her.

Plus it assisted keep the motion pictures within two hours, give or take some. We likewise do not get the lamentation speeches from Juliet’s household after her fake death. Both films go straight to the funeral. The movie permits directors to keep the audience from investing excessive sorrow for the family by quickly revealing the funeral. The lamentation speeches of Shakespeare’s plays were needed, due to the fact that they did not have the exact same visual choice that the filmmakers these days have. Romeo, being one of the lead characters of Romeo and Juliet, is played very differently between Leonardo De Caprio and Leonard Whiting.

While Leonard Whiting plays the typical teen to a tee, Leonardo De Caprio has much more depth and reveals his distress in far more significant ways. For instance, when Romeo being played by De Caprio is challenged by Tybalt he knows the repercussion of his combating and tries with all his may to prevent fighting with Tybalt, although Tybalt is kicking his butt. We get the impression that he is truly attempting to befriend him and make him comprehend that battling needs to be left aside and that there will be terrific remorses. In Zeffirelli’s variation, Leonard Whiting plays a younger perky Romeo.

When Whiting is challenged by Tybalt, he is spirited and does try to prevent a fight, but it is more with playful words and not since he knows the effect of the fight or battle. We likewise get the feeling that De Caprio is a lot more fully grown than Whiting. While Whiting plays a lovesick kid from an upper class family, he still seems ignorant and does not grow to the depths that De Caprio does. From the very beginning, De Caprio is seen as a street wise, savvy, fully grown boy. His writing in his diary shows us depths that does not show on Whiting, where he is only twirling a twig of flowers.

The veranda scene is another scene that reveals the differences between the 2 actors. In the ’68 version, Whiting is very childish and playful. He plays around in the trees while he’s awaiting Juliet. This advised me of the young Kevin Costner in Silverado when he was swinging from the jail cell bars, revealing his youth. He is also like a young puppy, very young and immature; he appears unconcerned about his security; he just has eyes for Juliet. We can see that is his only thought or issue. When he leaves we see him leaping and avoiding, and when again we are aware of his youth. Leonardo De Caprio reveals much more passion and desire.

We do not get the sense of immaturity with De Caprio, but rather a sense of manhood. His eyes reveal deep desire, like he knows what she looks like naked. He also is very sure and thrilled, he knows the danger by his existence and takes caution to be careful. Whiting appeared unconcerned to his danger. His only concern is his love and desire for Juliet. De Caprio is more knowledgeable about the repercussions of their love; Whiting is only knowledgeable about his love. One of the most essential relationships in Romeo and Juliet is the relationship between the Nurse and Juliet. In Act 1, Scene 3 we are introduced to the most brilliant character of the play, the Nurse.

With her speech that begins “Even or odd, of all the times in the year, Come Lammas Eve during the night will she be fourteen.” (1. 3. 16-48), we learn that she nursed Juliet, she lost a kid the exact same age as Juliet, and also lost her hubby. The Nurse’s function is extremely crucial to Juliet. The Nurse is the one that is there for Juliet, she is her confidant, she is her pal. This is particularly crucial near completion of the play when Juliet realizes she is alone after the Nurse tells her to proceed and devote bigamy and wed Paris. In Zeffirelli’s Romeo and Juliet the Nurse plays the function of the Nurse as it’s composed in the play.

She is caring; she is giggly, and loving. We see Juliet and the Nurse being openly caring with each other and can tell from this film that Juliet depends upon the Nurse. This is specifically so when Lady Capulet informs Juliet about the marriage to Paris. After Juliet gives her “I’ll aim to like, if looking liking relocation” (1. 3. 97) speech, she wants to the Nurse for approval. After the Nurse smiles back at Juliet, we see relief and trust in Juliet’s eyes. In Luhrmann’s version of Romeo † Juliet, we get a really various version of the Nurse, and an extremely different version of Juliet due to the fact that of the modifications.

The Nurses speech about how she weaned Juliet and the recommendation to the earthquake are left out. The love that is so obvious in the Zeffirelli version is non-existent in the MTV variation. This alters the character of Juliet substantially. She is perceived as more isolated and alone from the very start. We see her as a teen that does not have somebody to confide in aside from God. When the Nurse informs her to dedicate bigamy, we do not get the same sense of betrayal as we finish with the Zeffirelli variation. There Juliet was exceptionally pained and had to decide for herself, by herself, for the very first time in her life.

As the Nurse is Juliet’s confidant, the Friar is Romeo’s trusting buddy. In the MTV version of Romeo † Juliet, Pete Postiethwaite plays an extremely various Friar compared to the 1968 variation and the text. Pete Postiethwaite plays a tattoo bearing, Jerry Garcia-like gardener who is Romeo’s only confidant. Milo O’Shea’s version of the Friar is very sympathetic and caring. He only has the very best of intents in mind. Friar Lawrence is very crucial to Romeo. The Friar is the one who guides him and likewise selects him up when he is down.

Even though both Friars are various in appearance and character, I think they both depict a really sympathetic, caring friend to both Romeo and Juliet. The Friar may eventually be the one to blame, but he only led Romeo and Juliet since he thought their union would bring the feuding households together. I think both played a regretful Friar when all of it ended. The ’96 version shows Friar Lawrence anxiously tracking the express letter. He is sweating and projects seriousness into his voice, albeit his function in the church is left out.

In the ’68 variation, when the Friar sees the Page outside the burial place, he anxiously hurries to Juliet’s side. He is careful with Juliet but in the end need to abandon her to get away blame. Once again Juliet is abandoned. The most vibrant dispute is between Tybalt and Romeo. Tybalt is not almost as literate or well spoken as Romeo, plus he harbors much hate for Romeo. In both movies we get the sense that Tybalt may be knowledgeable about Romeo’s and Juliet’s love throughout Capulets celebration, although it is not played out any further, however might be the fuel for Tybalt’s challenge.

In Zeffirelli’s film, Romeo, Leonard Whiting, is oblivious to Tybalt’s obstacle and when he is called a “Bad guy” he does not appear fazed, while Tybalt, played by Michael York, is very perplexed. He does not understand why he is not getting a response from Romeo. He came prepared to combat, and when Romeo does not face his opposition, Tybalt tries to provoke Romeo by slapping his hand away and smelling his own, as if Romeo has a smell. However Romeo is still not provoked, and his friend Mercutio steps up to the plate for him. The fight in between Mercutio and Tybalt is light hearted and lively.

The crowd is laughing and cheering them on. The only one who sees the seriousness is Romeo, who is trying to stop them. As soon as Mercutio is eliminated, Romeo is fueled and pursues Tybalt. The dispute for Romeo is vengeance for his friend’s death. The fight between Romeo and Tybalt handles a far more major tone; the crowd is no longer cheering and laughing. The anger and hatred show in both characters. They are fighting till the end. In Luhrmann’s variation, Tybalt, played by John Leguizamo, is very much like a gang member whose mind is set on damaging Romeo. He appears much more dangerous and dark and looming.

When Romeo, De Caprio, appears, he is immediately aware of Tybalt’s hatred and is worried for both their safeties. Tybalt is identified to go after Romeo, whether or not Romeo wants to fight. When Romeo attempts to shake his hand, Tybalt slaps it away and attacks Romeo from behind when Romeo starts to leave. Romeo keeps shouting to stop, he does not want to battle, however Tybalt is relentless. It isn’t till Mercutio actions in that the scene modifications to their fight and Mercutio’s death. Mercutio’s death is what fuels Romeo to fight and go after Tybalt. Romeo shows nerve and hate, and he’s shouting at Tybalt.

It is highly emotional and charged. Romeo understands his effects if he goes farther, however Tybalt pressed him to the limitation. Then he eliminates Tybalt. De Caprio immediately regrets his actions. The setting for Zeffirelli’s film is in classical Verona. The set has numerous aggressive walls and tons of concrete. It gives the feeling of coldness. The only heat is the veranda scene, with the trees and soft lighting. The setting keeps the audience’s attention on the stars and assists them to see the stars as Shakespeare may have directed them. In Luhrmann’s variation, the town is called Verona, however looks like downtown Los Angeles more than Italy.

The set is present and approximately date. It did not attempt to recreate Shakespeare, however rather, to demonstrate how Shakespeare progresses. The physical place of this film helps to understand the story much better. It uses our own experiences and our own visual setting, and although the language is still difficult to understand, the setting brings it all together. Luhrmann handles the death scene extremely differently from the text and Zeffirelli’s Romeo and Juliet. Luhrmann’s variation is far more extreme and more awful. It begins with Romeo, De Caprio, fleeing from the polices. There is a great deal of action, with sound and extreme music, to keep the audience in suspense.

We even see the apothecary scene which is erased from the ’68 version. When Romeo gets to the church he takes a guy hostage prior to he goes into the church. This also contributes to the suspense. When inside the church, and not a tomb, Romeo shows many of his feelings through his facial expressions. We can see the fear and foreboding in his eyes. The church is ugly with neon crosses and lights formed as candle lights. When Romeo finally reaches Juliet, Claire Danes, he shows concern and suffering in his eyes over her death. He is sobbing, and the audience can see his pain. He lies next to her, family pets her and cries uncontrollably.

We can inform he comprehends that death is last. Juliet starts to awaken from her self-induced sleep right as Romeo takes his lethal poison. We want Romeo to see Juliet is still awake, however he is too late. The appearance in his eyes as he becomes aware of Juliet is heart wrenching. It’s that realization that he has actually slipped up. While Romeo is still alive, Juliet whispers her line “O Churl! Drunk all and left no friendly drop to assist me after? I will kiss thy lips” This last kiss is so sweet therefore desperate. If only Romeo saw Juliet’s hand relocation. Juliet’s choice of weapon in this film is a revolver, instead of a dagger.

She blows her brains out. In Zeffirelli’s Romeo and Juliet, the scene is not changed much from the text, except we do not see Romeo, Leonard Whiting, go to the apothecary. As pointed out previously, the only omission is Paris as it remains 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 very same sense of seriousness as we carry out in the MTV version. The burial place is dark and dingy and full of dead individuals. When he sees Juliet, Olivia Hussey, he is still really childlike and in fact smiles. This gives the audience a sense that he does not recognize the finality of death.

He attempts to awaken Juliet with soft, cooing words. He does not appear severe until he sees Tybalt, who is not present in the Luhrmann movie. At this point, he makes his last speech and says goodbye to life. This is where we get the feeling that Romeo is finally getting it: death is completion, and there is no turning back. When he takes his last kiss from Juliet, he sobs for the first time and does show suffering. In the Zeffirelli variation, the Friar enters the burial place right as Romeo dies. This scene is left out 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 safeguard her from the news of Romeo’s death. He pulls her carefully away from where Romeo is lying. However he fails to safeguard her, and she discovers Romeo all the exact same, at which point the Friar leaves. Juliet looks at Romeo with issue and confusion. She kisses him, and then cries like a kid 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 last scene with them dead appears to embody them; they will be forever gorgeous.