Romeo and Juliet Transformation Essay
William Shakespeare’s Romeo and Juliet, a play adapted thoroughly into movies, musicals, and operas, itself borrowed from an Italian tale; The Tragical History of Romeus and Juliet by Arthur Brooke, 1562 and Palace of Satisfaction by William Painter in 1582. Romeo and Juliet turned into one of Shakespeare’s a lot of popular disasters. Baz Luhrman’s 1996 feature film Romeo + Juliet handled the difficulty of adjusting Shakespeare’s play into film. While maintaining the initial script, Luhrman changed practically whatever else; the music rating, the setting, the visual style, costumes and the text type.
As a result, he developed an appealing design of home entertainment for a young modern-day audience. In his appropriation of the original 16th century play, Luhrman checks out and honours the play’s significant themes; love, violence, fate versus free choice and gender inequality. The greatest risk Luhrman took in adapting Romeo and Juliet to the screen was the use of Shakespearean discussion in a modern Latino setting. It was a strong relocation, by which Luhrman divided audiences into those who either applauded it and those who disliked it.
However it was acknowledged that Luhrman had prospered in maintaining the integrity of the characters and plotline, creating a modern work of art. The interpretation of the themes in both texts is true to the context of the time in which they are set. Evident in the initial text of the late 16th century are the patriarchal worths held by society, the new spiritual and religions emerging through renaissance humanism, worths in concerns to marriage and gender functions and the strong religious presence in the Italian town of Verona.
These contextual aspects are carried through to the modern-day adaptation to a particular extent, but are gotten used to accommodate modern audiences. The movie adjustment is embeded in Verona Beach Miami: a city with both Hispanic and American influence. The music rating borrows from Radiohead, The Cardigans and Dess’ree. Luhrman also transformed swords into weapons, friars into daddies, the prologue into a news flash and princes into police captains. Both the play and the film’s dominant style, love, is depicted as imperfect; it is an overwhelming force that supersedes all the other consider the lives of Romeo and Juliet.
Sprung from separate feuding families, the “star cross ‘d” lovers defy the desires and expectations of their households to pursue their dream of being together. Love in both texts is just as frequently a force of evil, as one of excellent. It is the love that Romeo and Juliet share that requires them to unreasonable violence and both characters thought about suicide on several events. Romeo states “If I profane with my unworthiest hand … this Holy shrine, the mild sin is this”, while Juliet says, “My grave resembles to be my wedding event bed” to escape from troubles caused by their intense love.
Romeo’s love makes him a psychological wreck and pushes him to murdering both Tybalt and Paris. In the play, these ideas of love are represented in a lot of Romeo’s lines. The connectedness between love and violence is referenced in Romeo’s line “O brawling love, o caring hate!” and the internal misfortunes are felt when one remains in love expressed by Romeo explaining love as “a madness most discreet, a choking gall, and a preserving sweet.” Due to the fact that love is an ageless and universal theme it can be adapted for a modern-day audience, particularly through film.
Often when love is the focus in the movie, there is a presence of water. For instance, when Romeo meets Juliet they take a look at each other through a blue aquarium, and when they meet again in the terrace scene a water feature reflects watery light, and later on, they fall under a swimming pool and embrace. The water and the existence of the colour blue in the love scenes bring an aspect of calm and peace. The 360 degree shot of the fans in the elevator scene reveals that to each other, Romeo and Juliet are all consuming.
While it is a deeply moving and magnificently recorded scene, it allows the audience time to likewise consider the irrationality of the relationship in between the two young lovers, especially in a modern context. In other parts of the film, these scenes are juxtaposed with violence where predominantly red and orange sets are used for instance when Mercutio gets shot. As a theme in both texts, violence typically takes the type of revenge and plays a huge function in the action and drama of the play and the film.
In the initial text, the battles were mainly swordfights, which at the time were nearly as much participated in for sport when it comes to settling quarrels. Occurrences of violence in Romeo and Juliet are often as an outcome of enthusiasm of some sort. In a lot of cases, the passion causing the violence is love, and the line specifying love as pure and good is blurred. Angry vengeance drives numerous others to violence, and through these intense fits of passion the characters are often disillusioned to the effects their violent acts will have up until after they have performed them.
In the play violence is frequently justified as being essential to protect manly honour and the honour of the household, and is likewise claimed to be in the name of revenge, resulting in a long chain of violent acts that perpetuate the family feud between the Capulet’s and the Montague’s. This defense of masculine honour appears in Baz Luhrman’s adjustment, and the feuding households stay, tied up in modern gang warfare tinged with racial dispute. The element of the Hispanic versus Anglo racial dispute makes the play easy to understand to a modern-day film audience, and the gang violence keeps the importance of manly honour tangible and believable.
In the movie, the swordfights are transformed into dramatic gun fights, and it appears in the gas station fight scene that the violence has been choreographed, usually seen in Hollywood movies. The speed of the movie’s action is altered sometimes to develop remarkable effect and imagery of fire emphasises anger and violence. Religious images is likewise utilized in extremely violent scenes, for example the crucifix on the butt of Tybalt’s weapon as he gazes down the Montagues in the filling station scene.
While the religious symbols on the violent weapons are direct visual parallels to the style of religion in the play, it likewise elucidates the distance of wicked and excellent in modern-day America. Don McAlpine’s cinematography includes sticking around close-ups of essential characters and rich religious signs. In his muscular technique to storytelling, Luhrman borrows from other master movie makers like Scorsese, Tarantino and Lynch. Gender roles at the time of the play were very conventional. Elizabethan society was unarguably a patriarchal society. The role of females was limited to domestic care.
The majority of women were wed in their early teenagers and had little or no option in partners. These constraints caused problems for Juliet in her love of Romeo. From her moms and dad’s point of view, her love was not hers to give, and it was expected that an appropriate suitor would be picked by her parents (mainly her dad) and accepted by his daughter without complaint. Hence Juliet’s dad was very mad at Juliet’s refusal to wed Paris; by declining to wed Paris she was rebelling against the expectations of her as a child and member of the Capulet household.
It can be seen in the contemporary film adjustment, in addition to in the original text, that the women in the play, especially Juliet, invest their time inside their homes or churches, whereas the kids spend a lot of their time out on the streets. It would be easy for this practice to come across as alien and unfamiliar to a contemporary film audience, but the large amounts of danger and gang violence on the streets of modern Verona Beach serve as an explanation regarding why girls like Juliet are kept inside for security.
Fate versus freewill as a style in Shakepeare’s Romeo and Juliet takes its roots in the emerging belief in theories of renaissance humanism. At the time the original play was written, individuals were beginning to believe that although they were produced by God, it was they themselves who had the power to alter future occasions in their lives. People normally became less rigorous about spiritual matters, however it was still believed that without a spiritual base and the right constraint on flexibility, dreadful results would result.
This conflict between fate and freewill is paralleled in a youth versus age conflict. Romeo represents rash, fast-thinking youth, enthralled in the pursuit of love and happiness, and Friar Lawrence is the balancing figure of religious perceptiveness, wisdom and constraint. The heavy religious impact in the original text is finished to the modern appropriation through the setting. Being embeded in a Hispanic society, the Catholic impact is still reasonable and the superstitious notions upheld in the play are not too far from truth for a modern-day audience to accept.
In the play, Romeo’s quick mood and fast decision making often cause unanticipated and unstable circumstances, and Friar Lawrence advises “Those stumble who run quick.” Though the character of Friar Lawrence in the film stays a smart spiritual priest, his character is altered in methods to make it more familiar to the modern audience. For example his everyday outfit is casual, which is a recommendation to the film being set in a post Vatican II age.
Because Baz Luhrman’s adaptation needed to comply with movie conventions, areas of the play have actually been eliminated, condensed or secured altogether to suit the modification in text type. The initial plot consisted of Romeo murdering Paris. This has been removed in the movie due to the fact that Paris is a sympathetic character, and having him killed for no apparent factor, would not have fitted with Hollywood movie. Luhrman desired the audiences to be able to sympathise with Romeo and therefore needed to leave out the murder of Paris. Shakespeare’s Romeo and Juliet is one of the English language’s most long-lasting texts.
Baz Luhrman’s contemporary appropriation of this classic tragedy is a masterpiece in its own right. He successfully re-contextualised the Shakespearian play to entertain and engage brand-new audiences all over the world, while still handling to preserve the stability of the original story (by maintaining key themes in addition to language). Bibliography Romeo and Juliet: Entire Play. 2012. Romeo and Juliet: Entire Play. [ONLINE] Available at: http://shakespeare. mit. edu/romeo _ juliet/full. html. [Accessed 28 May 2012] Romeo and Juliet _ Quotes Guide _:: RMacD. om. 2012. Romeo and Juliet _ Quotes Guide _:: RMacD. com. [ONLINE] Readily available at: http://www. rmacd. com/misc/2007/ 1019/1201. html. [Accessed 28 May 2012] Romeo + Juliet (1996)– IMDb. 2012. Romeo + Juliet (1996)– IMDb. [ONLINE] Offered at: http://www. imdb. com/title/tt0117509/. [Accessed 28 May 2012] Bazmark Inq. 2012. Bazmark Inq. [ONLINE] Offered at: http://www. bazmark. com/. [Accessed 28 May 2012] Romeo and Juliet– Wikipedia, the complimentary encyclopedia. 2012. Romeo and Juliet– Wikipedia, the free encyclopedia. ONLINE] Available at: http://en. wikipedia. org/wiki/Romeo _ and_Juliet. [Accessed 28 May 2012] Shakespeare Online. 2012. Shakespeare Online. [ONLINE] Readily available at: http://www. shakespeare-online. com/. [Accessed 28 May 2012] Romeo + Juliet– Rotten Tomatoes. 2012. Romeo + Juliet– Rotten Tomatoes. [ONLINE] Offered at: http://www. rottentomatoes. com/m/william _ shakespeares_romeo_and_juliet/. [Accessed 28 May 2012] Romeo + Juliet, 2001. [DVD] Baz Luhrman, USA: Twentieth Century Fox. Romeo and Juliet, William Shakespeare- play 1591-1595