Lighting is another feature which is at variance in the two films. Zeffirelli employs the lighting to be consistent, using natural light from the sun all the way through. This is typified in the outdoor fight scenes in the main market square.
Luhrmann on the other hand, varies his lighting throughout the film. A prime example of this is from the very onset where in a pitch black room we find an Afro-Caribbean lady reading the news. He introduces effective lighting as in the case of the party that had taken place in the great hall with overhead indoor lighting. Natural light is used for the outdoor scenes which are further enhanced at night with fireworks.
Another feature used mainly by Luhrmann is flashbacks. He used fast-paced flashbacks constantly throughout his film, with loud opera music in unison. In the beginning the words ‘a pair of star cross’d lovers’ and ‘TAKE THEIR LIFE’ appear on two separate screens, indicating flashbacks of future scenes to be reviewed. He employs this technique throughout the film.
As Zeffirelli’s Romeo and Juliet is in the 1960’s he does not employ flashbacks, as this was developed at a later date. It is felt that the flashback technique spoils the continuity and gives a disjointed presentation.
Sound and music play an important role in the presentation of a film and both directors have used this effectively.
Baz Luhrmann uses this cleverly to a greater effect as compared to Zeffirelli. An example of this is when the Capulets were introduced in the film to the strains of wild-western music themes giving a classy, stylish look. Although, Tybalt was introduced with an alien, Dr.Who sound effect later, it gave one a clear impression that he was a villain. He also scrutinised Tybalt from bottom to top, panning his body and features. His face indicating that he was a person of high rank.
Luhrmann introduced Benvolio and the rest of his group as surfer-style dudes accompanied by rock music. In this context Luhrmann introduces the various characters to loud fast-paced opera music which is also used for his flashbacks and other scenes.
Zeffirelli is aware of the importance of music and sound in the presentation of his film. A notable presentation of this is the entrance of the Prince and his men, making a grand entrance on horseback. They were heralded by trumpets, and a loud bell was rung in the background. The Prince used these effects to demonstrate his royal importance and was the person to stop all feuding.
The two versions show the animosity between the families and present this differently. Luhrmann shows the seriousness of the fighting, involving killing and demonstrates the hatred to a high extent. Zeffirelli shows the two families in respect of each other and the brutality is not highlighted.
There is contrasting dialogues and accents presented by the two directors. Although the speech is loud and clear, the accents are totally different. In Luhrmann’s version the characters have American accents. He also employs Latin American as typified by Tybalt and Abra. Zeffirelli, on the other hand uses the traditional upper-class English accent of olden times.
The opening scenes are in contrast. Zeffirelli opening shots have a silent background with a silent early morning mist hanging over the city. Luhrmann does not employ this technique. Instead, he uses fast-paced opera music when introducing the city to his audience.
Camera work is also a key for the outcome of a good film. Baz Luhrmann and Franco Zeffirelli have both profited well in their productions.
Luhrmann uses a lot of cutting and zooming in his film which attracted young audiences. This was accompanied with loud sound effects. In using this technique he imparted a message, such as the large statue of Jesus in the middle of the city, demonstrating to the public that religion played an important part in their lives.
Luhrmann uses cutting in his many speedy flashbacks throughout the film. With the arrival of the police helicopters, Tybalt and Benvolio are pointing their guns at each other. When apprehended by the police one could see Tybalt’s and Benvolio’s anger and a flashback of the policeman’s facial expression.
Baz Luhrmann used very little panning in his film, a major contrast to Zeffirelli.
Zeffirelli uses cutting and zooming also, but to a limited extent. He zooms in and out very slowly and cuts once in a while. Panning is used very often in Zeffirelli’s film to provide a sense of continuity. For example, in the fight scene between Tybalt and Mercutio panning was utilised to a large extent. In a further illustration aerial panning of the city shows the separation of the two opposing sides separated by a river.
The technique of panning, zooming in and out slowly with frequent cutting gives the impression of blinking from a by-stander’s view.
Freeze frames are a common theme in Baz Luhrmann’s production. He employs this technique for every single character being introduced, just to make sure the audience are appreciative of the cast in the film. Tybalt’s introduction was a good example of this, as Luhrmann used a freeze-frame, to show us his face next to the bold and white coloured capitals of his name, rank and relationship with the Capulets.
Zeffirelli never used freeze frames, because he wanted his film to flow continuously.
A further difference again between the two versions was the camera technique. Luhrmann largely focused on the main characters and their events, always centring them and never moving anywhere else. The fight scene in the petrol-station, where the camera only focused on the fight between the Capulets and Montagues was a good example of this. Zeffirelli on the other hand, purposely focuses on random passer-by’s in the market, as well as the main characters. This again creates the impression that it is from the point of view of a random person in the market.
Comedy is used in both versions but in very different ways.
Zeffirelli employs genuine spoken jokes, and at times they become physical. An example being when the old man on the Montagues side fell to the ground, having been tripped up by the opposing side.
Luhrmann produces most of his comedy visually. One example of this was when a nun, wearing sunglasses was seated at the back of a van and peering around in a comical fashion. Again Benvolio’s friend was struck on the head by a lady using her handbag as a weapon.
The two supporting characters in the film are different in every way and are presented accordingly. They are Tybalt and Benvolio who belong to the opposing feuding houses in the film. Let us look at each of these characters and discuss there presentation.
Tybalt is a Capulet and is Juliet’s cousin. In both films he is vain, fashionable and has a cruel, cunning streak. He loathes the Montagues and his sword, once drawn is something to be feared.
The directors show Tybalt in different contrasting styles. Luhrmann presents him in a western-style using dark, black colours. He appears smart in appearance with an inner open red T-Shirt. It has a picture of Jesus showing his Catholic affiliation. This is in contrast to the Montagues who were not Catholics. Zeffirelli on the other hand shows Tybalt with a thick, bright yellow and black coat. He has a white shirt inside which is open at the top giving him a sense of style. Tybalt’s brown hair is neat and is covered by a uniquely shaped yellow hat, which shows us his rank. Although flamboyantly dressed Luhrmann depicts Tybalt as a serious character with a stylish way of movement. An example of which being during the fight, he uses various stylish movements to work his way around the petrol station.
Zeffirelli presents Tybalt as a less serious character, laughing and boasting whenever he appeared in the market place. One example, was when Benvolio challenged Tybalt to a fight, Tybalt laughed, trying to show Benvolio was no match for him.
Zeffirelli shows Tybalt as upper-class, strong and upright, the very personification of a leader. gfohwgohghgwhjgwohg
In the clip from Zeffirelli film, Tybalt shows his true character of being strong and powerful. He points his sword toward Benvolio and appears in total control.
Benvolio is a Montague, and is Romeo’s cousin. He is a thoughtful friend, his name well-wisher. It demonstrates his role in the play and comes through as a loyal friend and peacemaker.
In appearance and behaviour Benvolio appears a different type of character, as presented by each of the directors. Zeffirelli shows Benvolio as a quiet person whilst Luhrmann depicts him as a soft-spoken, sarcastic character. In appearance Luhrmann shows Benvolio as a surfer-dude style, colourful clothing and sunglasses. His hair is ginger and low cut. It appears that he is from a good family and is decent person. His face is clean and he has no beard. Around his neck he wears two silver chains, one of which shows strength and wealth. He has a silver ring on his finger showing his status.
Benvolio’s appearance in Zeffirelli is a more orthodox style. He appears in uniform but is no comparison to Tybalt. His uniform is of a grey colour, giving him a smart but dull look. His hat is nothing special and something which applies to the other members of his group.
Benvolio is not up to the standards of Tybalt, but a gentleman. Although he appears clean, his hair appears uncombed giving him an untidy appearance. In the picture above, Benvolio is looking down, with Tybalt controlling him. Tybalt shows that he is of much better rank; by the way he is standing up tall and pointing his sword at Benvolio.
In both productions the directors employ the technique of prologue narrator. In the case of Luhrmann, a woman gives a vivid account of what is happening and what to expect in the plot, yet to unfold. She is a middle aged woman of Afro-Caribbean origin and has the ability to present her narrative in a clear diction. A great deal is dependent on the use of a narrator - the technique is not widely used but nevertheless, it is very effective.
Zeffirelli employs a similar technique to Luhrmann but, in his presentation the narrator is a man who does not appear in person. He too comes across as a middle aged person addressing a younger audience, but his voice being calm throughout and dictating in a drama format.
To exercise a choice, I would prefer the woman narrator as she appeals much more to younger viewers.
The plot created by the two plays describes a multitude of events that make the play so passionate and powerful. We examine the sequences in a chronological context in Zeffirelli, but in non-chronological context in Luhrmann.
Another minor point was the age of Romeo and Juliet in each version. Zeffirelli employing his two characters to be of a teenage pair, whilst Luhrmann uses an early twenties couple for his version.
The themes are presented in each of the two films differently. The first theme being the use of gangs in both versions.
