Shakespeare’s Romeo and Juliet Is a play based upon love, hate, catastrophe and sacrifice. It has actually been retold several times in both composed and movie text and it is effective and timeless throughout the use of many methods. Baz Luhrmann and Franco Zefirelli are 2 directors who have made this traditional play into movie.
Both directors have portrayed the significant scenes within the play with some resemblances and distinctions. The 3 significant fight scenes being talked about are: the battle scene at the start, the battle scene in between Tybalt and Mecrutio and the death scene of Romeo and Juliet.
In the first scene, the audience is introduced to the hatred in between the two feuding households, and both directors depict this in similar and various methods. One similarity is the electronic camera angles; there are close ups to reveal the palpable emotion on the Capulet’s and the Montague’s faces and bird’s eye views to check out the conflict. A visible distinction between the versions is the music; Luhrmann utilizes extreme, powerful music to set the mood, nevertheless, Zefirelli utilizes the crowd’s outcry.
Another distinction is the direct exposure of Christ; in Luhrmann’s, a big statue of Christ is revealed as a representation of the power of the Church over the lives of the people below. On the contrary, in Zefirelli’s, no faith is revealed. Throughout the battle scene in between Tybalt and Mecrutio, Luhrmann and Zefirelli approach it in an extremely similar but contrasting manner. In Zefirelli’s variation, the atmosphere is almost comical as the 2 fight it out; until Tybalt takes it too far and fatally stabs Mecrutio. In Luhrmann’s, Tybalt seems conquered with rage and battles Mecrutio mercilessly.
The similarity in both variations is that when the battle ends there is a close up on Tybalt’s face that reveals his regret towards Mecrutio’s death. During the conflict, Luhrmann cleverly uses a visual metaphor in the background; the developing of a storm. As the scene gets more intense, the storm ends up being more pronounced, up until finally it is let loose as Romeo eliminates Tybalt. Zefirelli provides his battle scene more mundanely. In the scene were Romeo and Juliet die, Luhrmann and Zefirelli approach it in two different manner ins which are both efficient in their similarities and differences.
Luhrmann portrays Juliet as the centre of attention, dressed symbolically in white, surrounded by a sea of candles. Both versions consist of a shot of the dead star crossed fans lying in each other’s arms, lastly together. In Luhrmann’s, he builds up the thriller till you nearly think Juliet will wake up in time to stop Romeo taking the toxin. Whereas Zefirelli’s leaves no doubt that they will not be together. An important final distinction in both variations is that Luhrmann never shows the households reuniting.
In the play, Capulet and Montague accept end their fight; in the Zefirelli film, the households assemble visually. Zefirelli and Luhrmann have both made incredible variations of Romeo and Juliet, both approached it in various but comparable ways. Zefirelli’s version is appealing, but the overall winner is Luhrmann’s. He captivates the audience with an amazing cast, interesting electronic camera angles and charming music. Despite the modern-day outtake of his interpretation of the play, Luhrmann’s film language stays Shakespearian, which provides it that authentic touch.