In the two films the fight appears to be started by different families. In the Zefirelli version the fight is fought with swords, as it would have been in the 1600’s. The fight is started by the Montagues, and the Capulets do not appear ready to fight, they seem to want to keep the peace at this point. Zefirelli does not have the advanced luxury that Luhrmann had when making the film because technology wasn’t as good when Zefirelli made his film, therefore he wouldn’t be able to use modern looking special effects so easily. Zefirelli used some cut aways in the making of the fight scene to maintain the fast attitude but it is not needed so much because the people worth focussing on are close to each other.
In the Luhrmann version of the fight scene the Capulets are more pugnacious at this point. The fight is also fought with guns, given the names of the swords used in the standard version. In the fight scene there are constant cut aways, which appeals to the younger generation as it refreshes their attention every time the shot is changed. Slow motion is used when one of the Capulets jumps, and dives behind a car whilst shooting, ending the stunt in a roll. This is not very realistic but is effective, slow motion is used to emphasise the stunt because if it is shot in normal time, it would be over in a matter of seconds and the stunt will not be appreciated to its full extent. The fight scene in this film is also very humorous towards western films, a camera angle is used to show and stress a pair of boots with metal heals, reminding one of spurs, used by cowboys. A western style piece of music is also played, and the actors use their weapons as if the were cowboys.
In Zefirelli’s version of the scene where Romeo is introduced, he is walking up a dull road, alone, and holding a flower. He is alone so that he is the only thing that the audience can focus on and this is also why the road is dull. The fact that he is holding a flower shows Romeo as distinct from the violence, this shows the audience that Romeo is unique, unlike the other males in the film. When we see Romeo emerging up the road the mood changes, because of the use of music, and that the characters get excited to see Romeo, the music is changed to a more uplifting style, although Romeo is actually depressed, his presence lightens the mood.
In the Luhrmann version, when we first meet Romeo, he appears framed by a big arch and there is a sunset in his background, showing him as a silhouette, which makes him appear almost angelic. An arch frames him so your attention is focussed on him. He is alone so that there is nothing else to focus on. The music use when Romeo is introduced is not a happy piece, it is a slow piece and we can see from this that Romeo is depressed, and when the cut away is used to take us closer to Romeo, by his facial expression we can confirm that he is troubled.
In Zefirelli’s version when Juliet is introduced she if framed by a window, she is the only one on the screen for the attention, and the music is changed to a very happy piece of music, which works in conjunction with the nurse being very excited to see her. We can see from this that Juliet is regarded as a much-liked girl.
The Luhrmann version of introducing Juliet shows her initially with her face in water, and the camera looking up at her face through the water, which gives the impression of purity and possibly innocence. She is not framed but her face fills the screen, so nothing else can be seen to divert your attention from Juliet.
Zefirelli’s version of the party is pretty. The guests all wear bright clothing and the scene, if it wasn’t moving would look almost like an oil painting. In this scene some cut aways are used. Cameras are in many instances at the face level of the characters to show them smiling and having fun. The music is very happy, but when Juliet finds out the identity of Romeo the music turns to a sadder mood because she has just found out that she loves a family foe. At this point the camera cuts away from Romeo to Juliet’s distressed face.
Luhrmann’s version of the party seems like it is chopped up into small chunks of film and then stuck together randomly. The cameras constantly cut away straight into another shot. There are not many shots in this segment that last more that three seconds. Luhrmann has to do this because he does not want to bore the people who are watching the film. The newer generations of teenagers, who are the target audience, get bored with the same shot very quickly, and are so named “the fast forward generation.” So it is an absolute necessity to renew the shot at regular intervals. In the party there are simultaneous cut aways from Romeo to Juliet. When they first meet they see each other through a fish tank, water is once again used, showing purity. There is one point when the camera is constantly spinning around Romeo and Juliet. The costumes that they are wearing is also significant, Juliet is wearing an Angels costume, showing purity and Romeo is a knight is shining armour, which shows a manly figure. This is very clear symbolism. When Juliet finds out who Romeo is and vice versa the camera is put in Romeos perspective and zooms out from Juliet and from Juliet’s perspective zooming out from Romeo, symbolising them being so far from each other.
The Zefirelli balcony scene seems very standard. It is what you would expect the balcony scene to look like. Juliet talks when Romeo is hiding in the bushes. There is a slow piece of music playing, to create a sad mood because of her situation. Juliet is now wearing white, and white is a symbolism of purity. The camera cuts away from Romeo to Juliet regularly.
Luhrmann’s version of the balcony scene is quite different. Juliet is on the ground unaware of Romeo being behind her. Luhrmann still uses continuous cutaways to different camera angles to keep attention. Juliet is wearing a white dress to symbolise purity and water is again used as they both fall into the swimming pool, to enhance the pure and clean image of both of the characters.
I think that Zefirelli’s version of “Romeo and Juliet” stays much more accurately to the storyline and is therefore better to watch if you want to learn about the play, and are not watching it for entertainment.
Luhrmann’s film is better to watch if you are looking for an interesting action film to keep you entertained. It is possible to pick up the basic premise of “Romeo and Juliet,” but it would be difficult to modernise the play without changing some of the text, so the true form of “Romeo and Juliet” cannot be completely appreciated.
I admire both directors, especially Luhrmann who has taken on the text of “Romeo and Juliet” and has made a film of it that will keep teenagers interested in Shakespeare’s work. It is better to modernise Shakespeare’s work than to allow teenagers not to appreciate his work altogether. In a way, I feel that he has worked harder to get to the end of the play because the presentation is unique and deserves appreciation.
