TO BE, OR NOT BE, THAT IS JULIET’S QUESTION

First of all Zeffirelli’s ‘Romeo and Juliet’ was produced in 1968 and at that time the process

of making and editing movies is not as developed or advanced as compared to the year

1996 and its version. We can notice that the quality of both movies in terms of video and

audio is very different when compared. The 1968 version’s sound mix only consists of

mono compared to the 1996 version which is more stable and clear because they are able

to use Dolby Digital, DTS, and Sony Dynamic Digital Sound (SDDS). In terms of

cinematography, 1968 uses the spherical cinematographic process which is mostly used

in traditional movies, while 1996 adapted the Panavision (anamorphic) cinematography.

The colors and mood of 1996 are less vivid, but potentially more vibrant, than in the 1968

version, with a bit more dramatic stress and suspense included in the visual story.

The important scene of the movie which is the balcony scene—has a significant difference

in camera perspectives. The balcony scene is retained in the 1968 version by the director.

It shows Romeo's view as he stares up to the balcony on the tree from a low angle. It also

employs a high perspective to depict Juliet's vision, as she stares down to the tree on the

balcony. The combination of low and high angles emphasizes Romeo and Juliet's distance.

Furthermore, it implies that Juliet comes from a wealthy family and that Romeo is socially

inferior to her. The balcony scene is replaced in the 1996 version by a swimming pool

sequence in which Romeo and Juliet communicate on the same level of vision. The term

"eye level" suggests that they are on the same level in terms of social position and

distance.

However, these two movies are directed in their own unique ways, which have several

distinctive differences. The 1968 version takes a more conventional approach to

production, the 1996 version takes enormous artistic license in its interpretation of the
work. To start with, it is clear that both films are faithful to the original play as far as the

language and general plot is concerned. True to the text, both films begin with the famous

prologue: “Two households, both alike in dignity. In fair Verona, where we lay our scene.

From ancient grudge break to new mutiny. Where civil blood makes civil hands unclean.”

The setting or film location is a significant difference in the movies. The scene is placed in

a form of medieval setting of a castle and the courtyard in the 1968 version. The 1996

version is set in a modern-day urban city, which alters the play's perspective and vision.

Because they filmed on a location with castles, the Zeffereli version appears to be

considerably more authentic in reenacting the play scenario. The Lurhmann adaptation

substantially transforms the play by replacing castles with mansions and streets with dirt

roads.

The two films were very different on many levels despite being adaptations of the same

work, however, the most crucial aspect of any Romeo and Juliet performance is showing

that their love was never meant to be, and both films do a great job of conveying this

notion.

In terms of the ‘romantic tragedy’ genre, yes both of the movies are able to capture the

tragic love story of Romeo and Juliet as what is originally written by Shakespeare.

However, both movies have a difference in terms of production and aesthetics.

One of the most noticeable differences between the films was their endings, which had

the same outcome but arrived at it in two distinct approaches. After learning that Juliet

has died, Romeo rushes from Mantua to Verona, where he sneaks into her charnel house

without running into Paris and swallows the poison to kill himself. After the Friar arrives

to collect Juliet, she awakens to find Romeo dead, and when the Friar departs, she kills

herself (Zeffirelli, 1968, 2:01:17). In the Lurhmann version, the authorities are aware that
Romeo is on his way to Juliet, and he dashes into the scene in order to execute himself.

Instead of the Friar, it was just them, and Juliet wakes up as Romeo swallows the potion,

adding irony and sadness to the situation (Luhrmann, 1996, 1:40:49). Both endings are

dramatic, but the Zepherelli version is more authentic in terms of atmosphere and setting

than the Lurhmann version.

Furthermore, many of the elements are changed or updated in Baz Luhrmann’s 1996

version. The Montagues and Capulets are portrayed as rival mafia empires in the film.

Some characters' names are also changed: Paris, Lord & Lady Montague, and Lord & Lady

Capulet are given first names, Friar Laurence is reintroduced as the police head of Verona

Beach and is renamed Captain Prince. The character of Friar John is dropped, and certain

characters switch families: Gregory and Sampson are Capulets in the novel, but

Montagues in the film; similarly, Abram, as Abra, is switched from the Montague to the

Capulet families.

The confrontation of Capulet and Montague boys in the beginning of the movie where the

setting takes place in a gas station and instead of a sword fight they happen to use guns

and was only interfered by the police (Luhrmann, 1996, 0:03:58). Another element is

when Mercutio performs in drag and when Juliet uses a gun to commit suicide instead of

stabbing herself. It also tackles modern issues like cross dressing/drag, it can be seen in

the scene where the Montague boys are talking before the party where he is dressed fully

in women's clothing—a glittery, sequined short skirt, bustier bra, and white afro wig. And

the use of drugs in the movie which is very much different from the traditional story

(Luhrmann, 1996, 0:19:31). And the use of ecstasy drugs where Romeo’s had a

foreshadowing of Juliet’s funeral (Luhrmann, 1996, 0:23:19).

I never imagined seeing a classic story being modernized. The director really made a great

job in creating a movie that is so different and new yet it is able to pertain to the original

version of William Shakespeare‘s Romeo and Juliet. At first, I was hesitant and cringing

about the Shakespearean dialogues used in the movie since it really does not fit the time

and setting it was meant to be but I realized that it is an essential part of the story and the

director wants us to experience Shakespeare’s masterpiece from a contemporary point

of view. Every line used is exactly the same like the iconic balcony scene where Juliet said

“O Romeo, Romeo, wherefore art thou Romeo?” (Luhrmann, 1996, 0:37:46) and Romeo’s

“Here, oh here will I stay with thee; and never from this place of dim night depart again:

here, here I will remain. Eyes look at last, let me take one last embrace, and lips only to

the doors to breath and seal with a righteous kiss.” (Luhrmann, 1996, 1:45:30)

The presentation of actors and actresses is more racially diverse in this movie. Some of

the important characters are played Black people such as the Captain Prince played by

Vondie Curtis-Hall, and Mercutio by Harold Perrineau. In terms of musicality, the

soundtrack to Baz Lurhmen’s Romeo and Juliet includes a spectrum of genres including

classical to popular music. The performance of the Mercutio during the party at the

Capulet’s mansion, and the choir boys singing during the wedding of Romeo and Juliet

adds more atmosphere and color to the adaptation.

Overall both movies are good in their own way, and it is up to the audience if they prefer

to watch the traditional or the modernize adaptation of Romeo and Juliet. Like what I said,

they are both different in terms of style and how the characters are portrayed in the

movies, but both films did a great job of conveying the dispute between the family of

Capulets and Montague’s, and the unforbidden love of Romeo and Juliet to their audience.