Explore Luhrmann's interpretation of the opening scene of 'Romeo and Juliet' and attempt some comparison with the Zeffirelli version.

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I have been studying the prologue to ‘Romeo and Juliet’ written by the magnificent playwright, William Shakespeare sometime between 1594 and 1596.  Still globally acknowledged, it has been restyled by many directors for both stage and screen. Shakespeare starts his play with a prologue: an introduction to a play or other piece of writing. The prologue sets the tone of the theatrical production; it outlines the action of the play and the ongoing scenes. In this case it is written as a sonnet, which occupies 14 lines.

I intend to explore Luhrmann's interpretation of the opening scene of ‘Romeo and Juliet’ and attempt some comparison with the Zeffirelli version. Luhrmann’s and Zeffirelli’s ‘Romeo and Juliet’ are perfect examples of the very different perspectives you can have of a spectacular play.  I will be focusing on how film techniques in both versions help create different atmospheres.

The Italian director Franco Zeffirelli, born February 12th 1923, was a designer and producer of opera, theatre and television. He was renowned for films productions of Shakespearean plays such as ‘Romeo and Juliet’ in which he received four awards, ‘Othello’ and ‘Hamlet’. On the other hand, Baz Luhrmann was producing films much later and offered a new version of ‘Romeo and Juliet’, which sparkled as brightly as any Shakespeare play had ever done on stage. His first three films, ‘Strictly Ballroom’, ‘Romeo and Juliet’ and ‘Moulin Rouge’, all fell under a modern and avant-garde type of filmmaking. Luhrmann’s style is to take the classical theatre model and transform it, bringing it “bang up to date” with modern references.

Both directors choose controversial main actors. Baz Luhrmann’s unconventional 1996 version starred Leonardo DiCaprio and Claire Danes, as the young lovers in the late 20th century setting.  Zeffirelli gambles by filling the two starring lead roles with two unknown, fresh-faced teenage actors, Leonardo Whiting and Olivia Hussy to play Romeo and Juliet in his traditional 1968 version, which offended a lot of people. Zeffirelli felt that their youthfulness and inexperience works beautifully in the more passionate sequences.

The styles of both versions of ‘Romeo and Juliet’ are in some ways dissimilar. Zeffirelli’s style is very conformist, classical as well as peaceful. He wants the audience to listen carefully to the words of the prologue and wanted his version to be indisputable. Luhrmann’s on the other hand is very contemporary.  Luhrmann has created a film that is very exhilarating. Through his updating reconstruction of the prologue, he creates an eccentric film that applies to young modern spectators. Luhrmann modernises ‘Romeo and Juliet’. This contrast to the Zeffirelli’s version, which is Elizabethan and intended for a more grown up and mature audience.

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Luhrmann directs the opening scene in a very original and advanced way, different from Zeffirelli’s version. The setting of the two films are contrasting. Zeffirelli’s version is situated in a relaxing atmosphere of Verona in the 16th century. While Zeffirelli maintains Shakespeare’s traditional setting and costume, Luhrmann updates his dressing and setting to the 20th century. Luhrmann was determined to devise a “created world”. Luhrmann has a futuristic urban backdrop of Verona Beach USA to exaggerate the chic modern look. Luhrmann tries to modernise the original setting and immerse his spectators into another world. This is distinct in style and set ...

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