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Download Film Romeo And Juliet Viking Vs The Jack
The millennial division of the internet subsists on a fairly shallow pool of nostalgia: endless posts celebrating variously unremarkable anniversaries, all intended to make reasonably young people feel reasonably old. “Can you believe it’s been a decade since Justin Timberlake’s SexyBack came out?” Well, yes, I can. “You won’t believe what the cast of Dawson’s Creek looks like now!” Not so very different from before, it turns out – is this a trick question?
Why Baz Luhrmann’s The Get Down is a rapper’s delight
Yet the announcement that William Shakespeare’s Romeo + Juliet is officially 20 years old today pulled me up short. Of course, I’m not speaking of William Shakespeare’s Romeo and Juliet at all (coming up to its 420th birthday next year, so save your candles), but Baz Luhrmann’s William Shakespeare’s Romeo + Juliet, which is a very different thing entirely – beginning with that oh-so-formerly-hip plus sign, which no self-respecting fan of Luhrmann’s taffeta-and-polyester vision would drop for an ampersand even today. Why am I surprised, though? Because 20 years feels an entirely inappropriate anniversary for Luhrmann’s glitterbomb of sound and fury and neo-disco and inchoate yearning. William Shakespeare’s Romeo + Juliet was never meant to reach this age: it might be the single most teenaged film ever fashioned.
I say that with equal parts critical admiration and peer adoration. I was 13 years old when the film sashayed and spangled its way onto cinema screens in my neighborhood (on Valentine’s Day 1997, admittedly, rather than 1 November 1996 – you can’t accuse South African distributors of not choosing their moment), and it felt as new and as dizzy and as overwhelming as the advent of adolescence itself.
Romeo + Juliet sent an instant neon shockwave through my high school. Within days, it seemed, girls’ English binders were plastered in photos of Leonardo DiCaprio from the film, with his perfectly curved forelock and glinting rave armor – a classroom-suitable image of nascent erotic desire. (I’d like to say some boys’ were too, but in that sense, at least, 1997 was a very long time ago.) That still-immaculate, all-bases-covered soundtrack – Radiohead! The Cardigans! Er, Butthole Surfers! – was on permanent rotation at every hesitant co-ed house party, even if the sinuous Des’ree slow dance was awkwardly skipped nine times out of ten. Detachable angel wings became a default prom accessory; blue-tinted fairy lights were resourcefully draped over household fish tanks.
I had experienced blockbuster reverberations in my childhood before, of course – ubiquitous Jurassic Park T-shirts, Forrest Gump catchphrases – but this was new: my first palpable point of awareness that cinema and sex were essentially intertwined. Heterosexual sex, foremost, but I can’t be the only person my age for whom Luhrmann’s MTV fantasia raised early inklings of alternative sexual awareness: the image of Harold Perrineau’s athletic, exquisitely androgynous Mercutio, busting (and thrusting) moves to Young Hearts Run Free in a sequinned bra, suspenders and candyfloss fright wig, was almost certainly the queerest thing I’d hitherto seen at the movies. Yet he, too, was treated by film and audience alike as acceptably, desirably cool.
None of this would have seemed especially revolutionary to older viewers long accustomed to commodified adolescent hedonism, or indeed to Shakespeare being repurposed and restyled for the present day. To a 13-year-old, however, Luhrmann’s vision played as an exciting expansion of possibilities and pleasures: the shortest, most exhilarating cut on that gem-studded soundtrack, Quindon Tarver’s cover of Everybody’s Free (to Feel Good), was taken most literally.
So, yes, two decades on, stray sounds and images from Luhrmann’s film remain entirely vivid, if not entirely undated. (It’s hard to think of many symbols much more 1996 than the giant kinda-Celtic-Gothic crucifix tattoo adorning the back of Pete Postlethwaite’s Father Lawrence – what a mercy my classmates and I were too young to copy that.) But what of the film itself? Does it hold up as more than a whirling mood board of generationally evocative iconography? Did it ever? I’m almost afraid to revisit it, but minutes into Luhrmann’s headlong, tricked-out dive into the decayed bohemia of fair Verona Beach – where he and justly Oscar-nominated art director Catherine Martin don’t so much lay their scene as paint-blast it – the surprisingly elegant, elemental pull of its storytelling takes hold.
It’s de rigueurfor purists to complain about contemporary Shakespeare adaptations stripping back his language to the nub, but the kinetic visual translations the film makes for the missing text remain quite startling. We tend to remember the hyperactivity of any Luhrmann film foremost, yet so much narrative here is articulated through faces and gazes: I can’t think of any Romeo and Juliet production I’ve seen, on stage or screen, in which the attraction between its eponymous lovers is so viscerally, obsessively instant. Franco Zeffirelli’s 1968 version may have caused something of a youthquake with its ravishing adolescent casting, but it’s cautiously carnal at best: here, 17-year-old Claire Danes’ and 21-year-old DiCaprio’s eyes meet in an electric blue thunderbolt of sheer, woozy want.
Bard act to follow: why Romeo + Juliet is still the ultimate film soundtrack
DiCaprio’s career would go supernova a year later with Titanic, but I’m not sure he’s ever worn his alternately chippy and cherubic star quality quite this lightly or lithely, or – his recent Oscar for the pained jaw-clenching of The Revenant notwithstanding – emoted with quite such open, unstrained anguish. Danes’ film career would peak sharply here, of course, but what a summit: replacing Natalie Portman (who, at 14, was deemed to look too young opposite DiCaprio), she brings the very modern hormonal curiosity of a name-making role in TV’s My So-Called Life to Shakespeare’s vision of agitated youth in a way that feels quite apposite. (By this point, Shakespeare’s possessive credit in that full title no longer feels like a wry in-joke: give or take some tinsel and a swimming pool, this is still very much his Romeo and Juliet.)
Neither actor delivers the most mellifluous iambic pentameter you’ve ever heard, and nor should they: the lines roll eagerly, earnestly, blushingly off their tongues, like eighth-graders reading and writing poetry for the first time. (Compare it to the misbegotten Douglas Booth-Hailee Steinfeld update that Julian Fellowes attempted three years ago: that film’s leads sound like they’re being made to read the play aloud in class with surly reluctance.) The flushed sugar rush of Luhrmann’s film-making – not that we’d have believed it then, but a positively restrained dry run for the ecstatic excess of 2001’s marvelous Moulin Rouge! – worked to conjure the same air of reckless, uncalculated feeling. To look at its peach-skinned lovefools’ recent work – DiCaprio grimly chomping raw bison liver in Alaskan purgatory, Danes determinedly gurning away on TV’s Homeland – is to know that William Shakespeare’s Romeo + Juliet is indeed 20 years old. Like its doomed, bullet-bound lovers, however, the film refuses to age with us.
Romeo and Juliet | |
---|---|
Directed by | Franco Zeffirelli |
Produced by | John Brabourne Anthony Havelock-Allan |
Screenplay by | Franco Brusati Masolino D'Amico Franco Zeffirelli |
Based on | Romeo and Juliet by William Shakespeare |
Starring | |
Narrated by | Laurence Olivier |
Music by | Nino Rota |
Cinematography | Pasqualino De Santis |
Edited by | Reginald Mills |
BHE Films Verona Produzione Dino de Laurentiis Cinematografica | |
Distributed by | Paramount Pictures |
8 October 1968 | |
Running time | 138 minutes |
Country | United Kingdom Italy |
Language | English |
Budget | $850,000[1] |
Box office | $38.9 million[2] |
Romeo and Juliet is a 1968 British-Italian romantictragedy film based on the play of the same name by William Shakespeare.
The film was directed and co-written by Franco Zeffirelli, and stars Leonard Whiting and Olivia Hussey. It won Academy Awards for Best Cinematography (Pasqualino De Santis) and Best Costume Design (Danilo Donati); it was also nominated for Best Director and Best Picture, making it the last Shakespearean film to be nominated for Best Picture to date. Sir Laurence Olivier spoke the film's prologue and epilogue and reportedly dubbed the voice of the Italian actor playing Lord Montague, but was not credited in the film.
The most financially successful film adaptation of a Shakespeare play at the time of its release, it was popular among teenagers partly because it was the first film to use actors who were close to the age of the characters from the original play. Several critics also welcomed the film enthusiastically.[3][4]
- 3Production
- 4Reception
Plot[edit]
One summer morning in Verona, Veneto, a longstanding feud between the Montague and the Capulet clans breaks out in a street brawl. The brawl is broken up by the Prince, who warns both families that any future violence between them will result in harsh consequences. That night, two teenagers of the two families — Romeo and Juliet — meet at a Capulet masked ball and become deeply infatuated. Later, Romeo stumbles into the secluded garden under Juliet's bedroom balcony and the two exchange impassioned pledges. They are secretly married the next day by Romeo's confessor and father figure, Friar Laurence, with the assistance of Juliet's nurse.
That afternoon, Juliet's first cousin Tybalt, furious that Romeo had attended his family's ball, insults him and challenges him to a brawl. Romeo regards Tybalt as family and he refuses to fight him, which leads Romeo's best friend, Mercutio, to fight Tybalt instead. Despite Romeo's efforts to stop the fight, Tybalt badly wounds Mercutio, who curses both the Montague and Capulet houses before dying. Enraged over his friend's death, Romeo retaliates by fighting Tybalt and killing him. Romeo is subsequently punished by the Prince with banishment from Verona, with the threat of death if he ever returns. Romeo, however, sees his banishment as worse than the death penalty, as Verona is the only home he has known and he does not want to be separated from Juliet. Friar Laurence eventually convinces Romeo that he is very lucky and that he should be more thankful for what he has. Romeo then secretly spends his wedding night together with Juliet and the couple consummate their marriage before Romeo flees.
Juliet's father and mother, unaware of their daughter's secret marriage, have arranged for Juliet to marry wealthy Count Paris. Juliet pleads with her parents to postpone the marriage, but they refuse and threaten to disown her. Juliet seeks out Friar Laurence for help, hoping to escape her arranged marriage to Paris and remain faithful to Romeo. At Friar Laurence's behest, she reconciles with her parents and agrees to their wishes. On the night before the wedding, Juliet consumes a potion prepared by Friar Laurence intended to make her appear dead for forty-two hours. Friar Laurence plans to inform Romeo of the hoax so that Romeo can meet Juliet after her burial and escape with her when she recovers from her swoon, so he sends Friar John to give Romeo a letter describing the plan.
However, when Balthasar, Romeo's servant, sees Juliet being buried under the impression that she is dead, he goes to tell Romeo and reaches him before Friar John. In despair, Romeo goes to Juliet's tomb and kills himself by drinking poison. Soon afterwards, Friar Laurence arrives as Juliet awakens. Despite his attempts to persuade her to flee from the crypt, Juliet refuses to leave Romeo, and once the Friar flees, kills herself by piercing her abdomen with his dagger. Later, the two families attend their joint funeral and are chastised by the Prince.
Cast[edit]
- Leonard Whiting as Romeo Montague
- Olivia Hussey as Juliet Capulet
- John McEnery as Mercutio
- Milo O'Shea as Friar Laurence
- Pat Heywood as The Nurse
- Robert Stephens as The Prince
- Michael York as Tybalt
- Bruce Robinson as Benvolio
- Paul Hardwick as Lord Capulet
- Natasha Parry as Lady Capulet
- Antonio Pierfederici as Lord Montague
- Esmeralda Ruspoli as Lady Montague
- Keith Skinner as Balthasar
- Roberto Bisacco as Paris
- Bruno Filippini as Leonardo, the singer (uncredited)
- Laurence Olivier as Chorus and voice of Lord Montague (uncredited)
Production[edit]
Casting[edit]
It is often rumored that Franco Zeffirelli considered Paul McCartney of The Beatles for the role of Romeo. Although Zeffirelli does not mention it in his autobiography, McCartney provided plenty of details on this account (including meeting with Olivia Hussey and exchanging telegrams with her) in his co-written autobiography. [5]
The director engaged in a worldwide search for unknown teenage actors to play the parts of the two lovers. Leonard Whiting was 17 at the time, and Olivia Hussey was 16, and Zeffirelli adapted the play in such a way as to play to their strengths and hide their weaknesses: for instance, long speeches were trimmed, and he emphasized reaction shots.[6]
Laurence Olivier's involvement in the production was by happenstance. He was in Rome to film The Shoes of the Fisherman and visited the studio where Romeo and Juliet was being shot. He asked Zeffirelli if there was anything he could do, and was given the Prologue to read, then ended up dubbing the voice of Lord Montague as well as other assorted roles.[6]
Filming locations[edit]
Set in a 14th centuryRenaissanceItaly in varying locations:[7]
- The balcony scene: At the Palazzo Borghese, built by Cardinal Scipione Borghese in the 16th century, in Artena, 40 km southeast of Rome.
- The interior church scenes: At a Romanesque church named St. Pietro Somaldi in, Lucca, Tuscania, Tuscania, 90 km northwest of Rome.
- The tomb scene: Also in Tuscania.
- The palace of the Capulets' scenes: At Palazzo Piccolomini, built between 1459–62 by Pope Pius II, in the city of Pienza, in Siena province.
- The dueling scenes with swords were set in the old Umbrian town of Gubbio.
- The film also has some scenes filmed in Montagnana.
- The street scenes: Also in Pienza, and on Cinecitta Studios back lot, Rome.
Reception[edit]
The film earned $14.5 million in domestic rentals at the North American box office during 1969.[8] It was re-released in 1973 and earned $1.7 million in rentals.[9]
Famous film critic Roger Ebert (1942-2013), for the Chicago Sun-Times has written: 'I believe Franco Zeffirelli's Romeo and Juliet is the most exciting film of Shakespeare ever made'.[10]
Review aggregator website Rotten Tomatoes gives the film a 'Fresh' score of 94% based on 36 reviews, with an average rating of 7.9/10; it is accompanied by the consensus: 'The solid leads and arresting visuals make a case for Zeffirelli's Romeo and Juliet as the definitive cinematic adaptation of the play.'.[11]
Awards and nominations[edit]
Academy Awards ('Oscars') Redgate sql search 2016.
- Best Picture (Anthony Havelock-Allan, John Brabourne) – Nominated
- Best Director (Franco Zeffirelli) – Nominated
- Best Cinematography (Pasqualino De Santis) – Won
- Best Costume Design (Danilo Donati) – Won
- English-Language Foreign Film – Won
- Best Director (Franco Zeffirelli) – Nominated
- New Star of the Year – Actor (Leonard Whiting) – Won
- New Star of the Year – Actress (Olivia Hussey) – Won
- Best Original Score (Nino Rota) – Nominated
- Best Direction (Franco Zeffirelli) – Nominated
- Best Actor in a Supporting Role (John McEnery) – Nominated
- Best Actress in a Supporting Role (Pat Heywood) – Nominated
- Best Film Music (Nino Rota) – Nominated
- Best Production Design (Renzo Mongiardino) – Nominated
- Best Costume Design (Danilo Donati) – Won
- Best Editing (Reginald Mills) – Nominated
Other accolades for Romeo and Juliet included the David di Donatello and National Board of Review awards for Best Director for Zeffirelli, as well as appearing on the National Board of Review's Top Ten Films list for 1968.
Soundtrack[edit]
Two releases of the score of the film, composed by Nino Rota, have been made.[12][13]
'Love Theme from Romeo and Juliet'The film's love theme was widely disseminated, notably in 'Our Tune', a segment of the British Broadcasting Corporation (BBC)'s disc jockeySimon Bates's radio show. In addition, various versions of the theme have been recorded and released, including a highly successful one by Henry Mancini, whose instrumental rendition was a Number One success in the United States during June 1969.[14]
There are two different sets of English lyrics to the song.
- The film's version is called 'What Is a Youth?', featuring lyrics by Eugene Walter, and sung by Glen Weston. This version has been released on the complete score/soundtrack release.
- An alternate version, called 'A Time for Us', featuring lyrics by Larry Kusik and Eddie Snyder. This version has been recorded by Johnny Mathis and Andy Williams, among others. Josh Groban performed 'Un Giorno Per Noi', an Italian version of 'A Time for Us'. Jonathan Antoine, classically trained tenor from Great Britain, performed 'Un Giorno Per Noi' as one of the tracks on his second solo album, 'Believe', which was released in August 2016. A third version is called 'Ai Giochi Addio', featuring lyrics by Elsa Morante, and has been performed by opera singers such as Luciano Pavarotti and Natasha Marsh.
In popular culture[edit]
- Thom Yorke cites the film as one of the inspirations for the Radiohead song 'Exit Music (For a Film)', which was written specifically for the ending credits of the 1996 film William Shakespeare's Romeo + Juliet. Said Yorke, 'I saw the Zeffirelli version when I was 13, and I cried my eyes out, because I couldn't understand why the morning after they shagged, they didn't just run away. The song is written for two people who should run away before all the bad stuff starts. A personal song.'
- Kevin and Paul go to see the film in the episode 'Wayne on Wheels' in season three of The Wonder Years.
- Celine Dion referenced this film, in particular the 'hand dance' scene, in the video for her 1992 single 'Nothing Broken but My Heart'.
- Japanese manga artist Rumiko Takahashi referenced the Zeffirelli film in two of her manga and anime works. In one episode of Urusei Yatsura, devious troublemaker Ryoko Mendou invites the series' male protagonist, Ataru Moroboshi, to have a 'Romeo and Juliet' rendezvous with her, and wears a dress based on Hussey's from the film. Later, Takahashi's Ranma 1/2 featured a storyline in which the lead characters, Ranma Saotome and Akane Tendo, are cast as Romeo and Juliet in a production of the play at their high school. Takahashi designed Ranma and Akane's costumes for the play with Whiting and Hussey's outfits in the Zeffirelli film in mind.[15]
References[edit]
Notes
- ^Alexander Walker, Hollywood, England, Stein and Day, 1974 p399
- ^'Romeo and Juliet, Box Office Information'. The Numbers. Retrieved 29 January 2012.
- ^Adler, Renata (9 October 1968). 'Movie Review – Romeo and Juliet (1968)'. The New York Times. Retrieved 9 March 2012.
- ^Ebert, Roger (15 October 1968). 'Romeo and Juliet'. Chicago Sun Times. Archived from the original on 21 December 2007. Retrieved 9 March 2012.
- ^ Paul Du Noyer. Conversations with McCartney. New York: The Overlook Press. pg.: 138-139
- ^ abLandazuri, Margarita 'Romeo and Juliet (1968)'TCM.com
- ^Liner notes (back cover) from Romeo & Juliet: Original Soundtrack Recording, 1968, Capitol Records ST 2993
- ^'Big Rental Films of 1969', Variety, 7 January 1970 p 15
- ^'Big Rental Films of 1973', Variety, 9 January 1974 p 60
- ^Ebert, Roger (15 October 1968). 'Romeo and Juliet'. RogerEbert.com. Roger Ebert. Retrieved 17 January 2014.
- ^'Romeo and Juliet (1968)'. RottenTomatoes.com. Rotten Tomatoes. Retrieved 17 January 2014.
- ^'Romeo & Juliet: Nino Rota: Music'. Amazon.com. Retrieved 7 March 2012.
- ^'Nino Rota Romeo & Juliet Soundtrack HDtracks high resolution audiophile music downloads'. HDtracks.com. 4 December 1999. Retrieved 7 March 2012.
- ^Bronson, Fred (1992). Billboard's Book Of #1 Hits (3rd ed.). New York, New York: Billboard Publications, Inc. p. 255. ISBN0-8230-8298-9.
- ^The storyline spans chapters 74 through 77 of the manga and episode 39 of the anime titled Kissing Is Such Sweet Sorrow! The Taking of Akane's Lips. http://www.furinkan.com/ranma/misc/index.html
Further reading
Download Film Romeo And Juliet Subtitle Indonesia
- 'Virtuoso in Verona' — 1968 review in Time (magazine)
External links[edit]
- Comprehensive webpage on Romeo & Juliet at the Wayback Machine (archive index), featuring magazine articles and film reviews (archived).
- Romeo and Juliet on IMDb
- Romeo and Juliet at the TCM Movie Database
- Romeo and Juliet at AllMovie