Boring and dull classroom, heads on the desks, words that makes no sense yet you are expected to know what it means. In the original play the 2 men are just going around a market place showing off Baz Luhrmann pretty much goes along the same line of what happened in the original play but with cars, tall extravagant buildings, helicopters, sirens etc. The time in which he lived in was the Elizabethan era. A television screen, media on media; the television screen comes closer and closer towards the viewer; it strikes your attention like a news flash normally would catch one person's eye. This first scene brings us immediately into the bitter feud between families; the music and actions of the two gangs parallel a western film. Just after Romeo throws his mask in the fountain and turns towards the fish tank, we see a man in the toilet peeing in the background. The various techniques Luhrmann uses in his version, like lighting and ambient colours, give the viewer a frenzied atmosphere.
He then zooms in slowly, taking the audience with him as we wonder what is going on and what will happen next. Franco Zefferelli and Baz Luhrmann are the creators of the two most renowned film adaptations of William Shakespeare's Romeo and Juliet. We also see skyscrapers with Montague on one side of the street and Capulet on the other side, this could symbolize the divide between the two families. Juliet, at first happy to see his face upon waking, witnesses his quick death without being able to do a thing to stop it before taking his pistol and ending her own life. They jump, land and fire their pistols with ease. In reality most of the audience know Romeo will eventually meet Juliet and fall in love with her at first site.
What you can scientifically look at is the world in which he wrote these plays, and the fact that he was an actor in a company that was basically going broke. As the Montague limousine drives by, Romeo makes his way through a dissolute array of Verona Beach denizens, including prostitutes and the homeless. What is great is that a lot of young actors, particularly Latin actors, and black actors, they already use simile and metaphor and a sort of a rhythm in their language. The flamboyant props, such as the red, long curtains and the golden statues at the staircases, and the setting of a lavish mansion really add to the chaotic atmosphere. The point of this essay is to analyse them in the opening extract. Here we get a clear picture of his expressions which helps the viewer keep up with his emotions or moods as they change.
Music plays an essential part in the film, it seems to make time pass faster and adds much suspense to the film. They proceed to argue about whose master is better, and fight until Benvolio arrives and tells them to put up their swords. Banners are being unfurled, tables set, and chandeliers lifted, in preparation for the hedonistic party about to take place. Why do you think most of the films based upon Shakespeare have been independent productions and not studio-driven? The Nurse comes and warns Juliet that her mother is coming. The play is all about two families Montagues and Capulets that have a feud but their children fell in love with each other Romeo and Juliet. This provides a contrast to the tension before the fighting. In Renaissance art reds and blues seemed to be held in high esteem.
This tells us that he is like a cowboy. The sheer size of the city inflates the severity of the conflict as it absorbs an immense set. In a modern context, yeah. It starts with a bang and then slows down. A television screen, media on media; the television screen comes closer and closer towards the viewer; it strikes your attention like a news flash normally would catch one person's eye. Luhrmann obviously had a very different idea to the type of sound that should be used at the beginning of what is labelled a tragic tale.
What I liked about the opening parts of the scenes was the speed of the editing; it was like a rollercoaster ride starting off slowly zooming into the… Comparing the Original Script of William Shakespeare's Romeo and Juliet with Baz Luhmann's Film Version In this essay I aim to discuss, analyse and compare the original script of William Shakespeare's Romeo and Juliet, Act One, scene five with Baz Luhrmann's 1997 film version of the same scene. The positioning of Macbeth and Macduff conveys stereotypes of battle; use of layering and textures of height dominates the scene where Macbeth is beheaded, to only encourage the quick change in angling when showing the head upon a spike. Both opening scenes alter greatly from the play, but they also differ from each other. Exaggerated sounds on small objects are also used for this purpose. Luhrmann chose to start the film in a real environment, not a set , but the effects are many.
Does this sound appealing, would you pay good money to be bored out of your mind. While Shakespeare may have intended for his play to be simple in its staging techniques, Luhrmann is able to convey an abundance of information about both families. And the thing about it is, even then people were writing about how bad this nobody poet ripped off these great works of art and put them in his trashy theater. In voice-over, we hear his soliloquy concerning the paradoxical and tortuous nature of passionate love. The most interesting thing I find about this piece is it was never scripted, never thought about, it was just something the editor, Jill Billcock, did. He indulges the audience straight away with his music video background talents. They just did whatever was necessary for the story.
Luhrmann uses the props around Romeo and Juliet very effectively during their first meeting. We just have our ways of finally wearing people down. You wonder what I mean by this well he uses cutting edge camera techniques and dynamic music setting. The fire takes hold and we see copies of the local newspaper telling stories of Montagues and Capulets. Also Tybalt is framed on one side of the shot while Benvolio is framed on the other side. As we see the Capulet car drive into the station the camera shot turns almost as if it ran towards the car and then turned on its heel.