Post by kendall on Oct 25, 2011 14:58:15 GMT
FINALLY.....
Romeo and Juliet Critical Essay
‘Romeo and Juliet’ (1996) directed by the renowned filmmaker, Baz Luhrmann, cunningly acquires the classic love story – set in the Elizabethan era – and converts it into a familiar, contemporary setting. However, due to Luhrmann’s attention to detail, the film still resembles the original play as the traditional Shakespearean language is used throughout alongside modern representations (such as guns). Throughout the film, Luhrmann successfully uses the filmic techniques of mise-on-scene, camera shots and angles, diegetic and non-diegetic sound and lighting which allows the themes (of love, passion, sacrifice, vengeance and despair) to be conveyed to a contemporary audience, who can relate to the issues which arise within the narrative. Luhrmann uses the techniques particularly effectively within the two pivotal scenes of Tybalts death and Romeo and Juliet’s death. These scenes can easily be compared to highlight similarities and differences of Luhrmann’s work.
As in the famous play, Luhrmann creatively captures the story of two teenagers falling in love in his film. Despite Romeo and Juliet coming from two warring families, (the Capulets and the Montagues) they instantly fall in love and proceed to a swift wedding, conducted in secret. However, due to their families continual rivalry, their love is almost ill fated (to have catastrophic consequences) right from the beginning. After numerous violent encounters between the Montagues and the Capulets, Romeo’s anger exceeds its threshold and in a hatred driven confrontation, Romeo violently shoots Tybalt – a Capulet – directly under a large statue of Jesus – as the eyes of god look on. As Tybalt’s body floats in the water, this triggers the beginning of the turmoil ahead. As the young couple are driven apart, they move towards the films tragic ending.
In order to convey the moments of high drama throughout the film, Luhrmann effectively utilises media techniques including camera work. The death of Mercutio is cut between the tranquil, loving piece of dialogue (by Juliet) to show her love for Romeo, contrasts massively with the fast paced shot of Romeo in his car with a face of anger. Close ups are used continuously throughout the film to convey the characters’ emotions. In the fast paced scene of Tybalts death, close ups are successfully used to convey the violent intentions and hatred in both Romeo’s and Tybalt’s eyes. It allows us to see the tears streaming down Romeo’s face and the menace filling both characters eyes. Furthermore, close ups of the gun reveals the climax of the scene and the religious iconography signals the sinful act and the consequences to follow. Similarly, in Romeo and Juliet’s death scene, close ups are also used to convey the characters emotions. However, in this scene, we see grief and pain in their eyes as the ill-fated couple are torn apart for the last time. Furthermore, the close ups of Romeo’s eye hidden between two large doors, captures the audience as it signals the unknown which then leads onto the close up of the gun to symbolise the coming events; Juliet’s death. Luhrmann also uses panning successfully to give the viewer a sense of the overall atmosphere. As soon as Tybalt has been shot and plunges into the water, the camera pans down on Romeo to highlight his instant regret as he looks searchingly up at the statue of Jesus. Similarly, the camera pans down directly above Tybalt’s body floating in the water and then zooms out to reveal the scale of the injury. As the blood pours out of his body, it ‘taints’ the water, essentially ‘tainting’ Romeo and Juliet’s love. This is further seen in Romeo and Juliet’s death scene. The camera slowly pans to the shrine where Juliet rests, conveying the loving and peaceful atmosphere. At the end of the scene, the camera pans over and above the couple to show them in a loving embrace. It then pans upwards and zooms out to symbolically represent heaven but also to allow us to see the candles and the ‘theatricality’ of their death.
Throughout the film, Luhrmann makes a spectacle to show how big their love was for each other. He captures jouissance by over-exaggerating everyday scenes through successful use of mise-on-scene. Luhrmann deliberately incorporates very modern costumes and props into the film to allow the audience to understand the characters’ personalities and appearance as the traditional, ‘Shakespearean’ language is difficult to understand. The Montagues – especially the young men – all wear outrageously vibrant, Hawaiian shirts, usually with it undone and a gun slipped down their trousers. This indicates that they are more relaxed and just want to have fun. On the other hand, however, the Capulets are always seen wearing traditional, smart clothing, so they always look respectable and of importance. Furthermore, many of the Capulets are seen wearing leathers to suggest a hard edge plus the trademark blacks and reds, highlight their potentially dark and passionate natures. Thhis can be seen in in the scene of Tybalt’s death whereby Romeo wears his trademark Hawaiian shirt (reminiscent of him being a Montague) and Tyblat wears his traditional, Capulet colours and leathers. Luhrmann chooses to have such costumes in this scene to highlight the ongoing feud and separation. However, Romeo’s shirt is ripped which shows his fragmented state of mind and the blood on his face conveys his rage and the death to follow. In Romeo and Juliet’s death scene, Luhrmann has Juliet still wearing her wedding dress and her ring to symbolise their union. Whereas Romeo’s shirt is reminiscent of the Montagues which highlights their inherent separation that lead to this event.
Furthermore, in ‘Romeo and Juliet’, Baz Luhrmann chooses to use a modern setting to allow the viewer to engage and relate more to the film as the setting will appear familiar. During the scene of Tybalt’s death, Luhrmann chooses it to be set in front of a church which thereby foreshadows Romeo and Juliet’s death. The visual aids of familiar objects, allow younger viewers to understand the plot and what is happening as the Shakespearean language can be difficult to understand.
Another aspect of mise-on-scene which Luhrmann uses particularly successfully throughout the film is lighting. The way in which lighting has been utilized throughout the film always conveys a mood or signals a change of event to the audience. During the scene of Tybalt’s death, lighting is used sporadically as flashes of light reinforce the lightning which accompanies the thunder we hear. Furthermore, it also gives us glimpses of Romeo’s contorted face to highlight the anguish in his eyes. Other than the few flashes of bright light, the scene is very dark conveying the sinister developments of the classic love story and the nightmare which is taking over Romeo’s mind. Moreover, it creates a chaotic piece of film work to watch as the dark lightning generates suspense as tension runs high, leading the viewer to wonder what is to follow. Similarly, during the beginning of Romeo and Juliet’s death scene, it is very dark to convey the unknown but also Romeo’s lack of clarity over Juliet’s death. However, as the scene progresses, the candle light creates a warm and loving atmosphere whereby it also signifies religion and romance. As the camera pans up the church, the only thing lit with intense light is Juliet along with the religious iconography to emphasise that the eyes of God are always watching.
Just as Luhrmann’s skilful use of mise-on-scene depicts the drama of Tybalt’s death, the use of diegetic and non-diegetic sound further enhances the importance of this scene. Throughout the scene, a classical score is used; the higher the strings and speed, the higher the tension and drama on screen. At the beginning of the scene, the revving of the car engine (to mirror acceleration) creates a crescendo conveying Romeo’s anger and determination to cause harm to Tybalt. The sounds of the gun shots further highlight the loathing between Romeo and Tybalt. In addition, fast paced, dramatic music slowly builds up to a climax which is then directly followed by a sudden silence, as Tybalt falls dead, highlighting Romeo’s shock and instantaneous regret. During the silence, Romeo drops the gun to the ground and as it echoes, it highlights Romeo’s realisation of the significance of his actions along with the subsequent consequences to follow. Furthermore, it conveys the diabolical damage which he has just caused. As the silence begins to fade, the distant sound of crashing thunder, symbolically represents the beginning of the demise of Romeo as he watches his world collapse around him. As the camera then zooms in on his face, Romeo lets out a loud, guttural scram, suggesting a change in character.
In stark contrast to the loud and fast-paced sound work during Tybalt’s death scene, the importance of Romeo and Juliet’s death is highlighted by the lack of soundtrack. The beginning of the scene starts with a largely minor soundtrack – conveying the sombre atmosphere – as Romeo walks up the church. A crescendo builds up as Romeo walks up the aisle until he is faced with Juliet’s body. The music then consequently fades to allow Romeo to speak to his wife where he softly says the words, ‘My love, my wife.’ As Romeo’s voice echoes through the silence of the church, an atmosphere of tragedy, los and love has creatively been achieved by Luhrmann. Furthermore, the loss of the background noise (for example; helicopters) in the church symbolises that he couple are free to live their own life together. As the scene progresses, the echoes of Juliet’s emotional sobs convey the the scale of the tragedy. However, it sons quietens as Juliet contemplates her actions whereby after, there is little sound. The piercing gunshot captures the audience’s attention but also their emotions as the gun shot signposts the end to the feud between the houses, as two young innocents are laid to rest. The end of the scene consists of a soaring romantic sound track played over edited shots of the ill fated couple during happier times. Luhrnamm has used this technique to play with the audiences emotions to provoke a reaction.
A further media technique which the director utilises is representation. During Romeo and Juliet’s death scene, Luhrmann has deliberately used representation appropriate for death. There are many examples of religious imagery to highlight the themes of fate and forgiveness along with thousands of candles, creating a shrine which is ultimately representative of Juliet’s death bed. The theme of love is conveyed by the wedding dress and ring along with the couple’s final loving embrace. Luhrmann’s use of costume allows Juliet’s purity, innocence and fragility to be conveyed by dressing her in a white wedding gown. Similarly, Romeo is dressed in a bright, colourful shirt again to show the couple were always doomed from the outset as he once again looks like a Monatgue. The gun which Juliet used to kill herself is representative as the last act of violence between the families. There is, arguably, deliberately no religious insignia but behind the couple, there is a large statue of Mary overlooking the couple with ever watchful eyes.
Luhrmann’s effective use of representation can also be seen during the scene of Tybalt’s death. From the beginning of Romeo and Juliet’s love, water has always been the couple’s sanctuary. Therefore, as Romeo shoots Tybalt dead and he collapses into the water, his blood discolours the water, consequently tainting Romeo and Juliet’s love as water is their sanctuary. As the scene is set in front of a church, an ‘almighty’ statue of Jesus looks down on Romeo and Tybalt as they fight. This, therefore, represents the eyes of retribution are on them and sacrifice is now inevitable. Later in the scene, as Tybalt floats dead, Romeo looks up to the statue as he seeks forgiveness for his actions. In the background of the set, scaffolding represents the repair which is needed to the statue and to Romeo as he has just created serious damage which he cannot feasibly fix.
Throughout his 1996 film, ‘Romeo and Juliet’, Luhrmann illustratively employs many media techniques to re-reveal the Shakespearean classic. By choosing to utilise a modern setting with familiar, contemporary props, Luhrmann has creatively re-told the timeless love story but adapted it to make it accessible and understandable to a younger audience. The BBC has described the film as visionary: ‘Luhrmann’s flamboyant direction pumps new life into a well known, much adapted tale.’ He has achieved this by the illustrative use of media techniques such as mise-on-scene, camera shots and angles, lighting and diegetic and non-diegetic sound. This has helped convey the themes of love, sacrifice, despair, passion and vengeance, present in Shakespeare’s classic love story. After comparing the scenes of Tyblat’s and Romeo and Juliet’s death, the effective use of these techniques to convey the themes within the play can be easily recognised. Luhrmann’s ‘bold and vigorous adaption’ (according to the BBC) of William Shakespeare’s ‘Romeo and Juliet’ has given the classic love story a new lease of life as the filmic techniques used allow the 1996 film to become timeless.
Do remember that you can ask me any questions about this essay before draft one is due on the 10th November.
Romeo and Juliet Critical Essay
‘Romeo and Juliet’ (1996) directed by the renowned filmmaker, Baz Luhrmann, cunningly acquires the classic love story – set in the Elizabethan era – and converts it into a familiar, contemporary setting. However, due to Luhrmann’s attention to detail, the film still resembles the original play as the traditional Shakespearean language is used throughout alongside modern representations (such as guns). Throughout the film, Luhrmann successfully uses the filmic techniques of mise-on-scene, camera shots and angles, diegetic and non-diegetic sound and lighting which allows the themes (of love, passion, sacrifice, vengeance and despair) to be conveyed to a contemporary audience, who can relate to the issues which arise within the narrative. Luhrmann uses the techniques particularly effectively within the two pivotal scenes of Tybalts death and Romeo and Juliet’s death. These scenes can easily be compared to highlight similarities and differences of Luhrmann’s work.
As in the famous play, Luhrmann creatively captures the story of two teenagers falling in love in his film. Despite Romeo and Juliet coming from two warring families, (the Capulets and the Montagues) they instantly fall in love and proceed to a swift wedding, conducted in secret. However, due to their families continual rivalry, their love is almost ill fated (to have catastrophic consequences) right from the beginning. After numerous violent encounters between the Montagues and the Capulets, Romeo’s anger exceeds its threshold and in a hatred driven confrontation, Romeo violently shoots Tybalt – a Capulet – directly under a large statue of Jesus – as the eyes of god look on. As Tybalt’s body floats in the water, this triggers the beginning of the turmoil ahead. As the young couple are driven apart, they move towards the films tragic ending.
In order to convey the moments of high drama throughout the film, Luhrmann effectively utilises media techniques including camera work. The death of Mercutio is cut between the tranquil, loving piece of dialogue (by Juliet) to show her love for Romeo, contrasts massively with the fast paced shot of Romeo in his car with a face of anger. Close ups are used continuously throughout the film to convey the characters’ emotions. In the fast paced scene of Tybalts death, close ups are successfully used to convey the violent intentions and hatred in both Romeo’s and Tybalt’s eyes. It allows us to see the tears streaming down Romeo’s face and the menace filling both characters eyes. Furthermore, close ups of the gun reveals the climax of the scene and the religious iconography signals the sinful act and the consequences to follow. Similarly, in Romeo and Juliet’s death scene, close ups are also used to convey the characters emotions. However, in this scene, we see grief and pain in their eyes as the ill-fated couple are torn apart for the last time. Furthermore, the close ups of Romeo’s eye hidden between two large doors, captures the audience as it signals the unknown which then leads onto the close up of the gun to symbolise the coming events; Juliet’s death. Luhrmann also uses panning successfully to give the viewer a sense of the overall atmosphere. As soon as Tybalt has been shot and plunges into the water, the camera pans down on Romeo to highlight his instant regret as he looks searchingly up at the statue of Jesus. Similarly, the camera pans down directly above Tybalt’s body floating in the water and then zooms out to reveal the scale of the injury. As the blood pours out of his body, it ‘taints’ the water, essentially ‘tainting’ Romeo and Juliet’s love. This is further seen in Romeo and Juliet’s death scene. The camera slowly pans to the shrine where Juliet rests, conveying the loving and peaceful atmosphere. At the end of the scene, the camera pans over and above the couple to show them in a loving embrace. It then pans upwards and zooms out to symbolically represent heaven but also to allow us to see the candles and the ‘theatricality’ of their death.
Throughout the film, Luhrmann makes a spectacle to show how big their love was for each other. He captures jouissance by over-exaggerating everyday scenes through successful use of mise-on-scene. Luhrmann deliberately incorporates very modern costumes and props into the film to allow the audience to understand the characters’ personalities and appearance as the traditional, ‘Shakespearean’ language is difficult to understand. The Montagues – especially the young men – all wear outrageously vibrant, Hawaiian shirts, usually with it undone and a gun slipped down their trousers. This indicates that they are more relaxed and just want to have fun. On the other hand, however, the Capulets are always seen wearing traditional, smart clothing, so they always look respectable and of importance. Furthermore, many of the Capulets are seen wearing leathers to suggest a hard edge plus the trademark blacks and reds, highlight their potentially dark and passionate natures. Thhis can be seen in in the scene of Tybalt’s death whereby Romeo wears his trademark Hawaiian shirt (reminiscent of him being a Montague) and Tyblat wears his traditional, Capulet colours and leathers. Luhrmann chooses to have such costumes in this scene to highlight the ongoing feud and separation. However, Romeo’s shirt is ripped which shows his fragmented state of mind and the blood on his face conveys his rage and the death to follow. In Romeo and Juliet’s death scene, Luhrmann has Juliet still wearing her wedding dress and her ring to symbolise their union. Whereas Romeo’s shirt is reminiscent of the Montagues which highlights their inherent separation that lead to this event.
Furthermore, in ‘Romeo and Juliet’, Baz Luhrmann chooses to use a modern setting to allow the viewer to engage and relate more to the film as the setting will appear familiar. During the scene of Tybalt’s death, Luhrmann chooses it to be set in front of a church which thereby foreshadows Romeo and Juliet’s death. The visual aids of familiar objects, allow younger viewers to understand the plot and what is happening as the Shakespearean language can be difficult to understand.
Another aspect of mise-on-scene which Luhrmann uses particularly successfully throughout the film is lighting. The way in which lighting has been utilized throughout the film always conveys a mood or signals a change of event to the audience. During the scene of Tybalt’s death, lighting is used sporadically as flashes of light reinforce the lightning which accompanies the thunder we hear. Furthermore, it also gives us glimpses of Romeo’s contorted face to highlight the anguish in his eyes. Other than the few flashes of bright light, the scene is very dark conveying the sinister developments of the classic love story and the nightmare which is taking over Romeo’s mind. Moreover, it creates a chaotic piece of film work to watch as the dark lightning generates suspense as tension runs high, leading the viewer to wonder what is to follow. Similarly, during the beginning of Romeo and Juliet’s death scene, it is very dark to convey the unknown but also Romeo’s lack of clarity over Juliet’s death. However, as the scene progresses, the candle light creates a warm and loving atmosphere whereby it also signifies religion and romance. As the camera pans up the church, the only thing lit with intense light is Juliet along with the religious iconography to emphasise that the eyes of God are always watching.
Just as Luhrmann’s skilful use of mise-on-scene depicts the drama of Tybalt’s death, the use of diegetic and non-diegetic sound further enhances the importance of this scene. Throughout the scene, a classical score is used; the higher the strings and speed, the higher the tension and drama on screen. At the beginning of the scene, the revving of the car engine (to mirror acceleration) creates a crescendo conveying Romeo’s anger and determination to cause harm to Tybalt. The sounds of the gun shots further highlight the loathing between Romeo and Tybalt. In addition, fast paced, dramatic music slowly builds up to a climax which is then directly followed by a sudden silence, as Tybalt falls dead, highlighting Romeo’s shock and instantaneous regret. During the silence, Romeo drops the gun to the ground and as it echoes, it highlights Romeo’s realisation of the significance of his actions along with the subsequent consequences to follow. Furthermore, it conveys the diabolical damage which he has just caused. As the silence begins to fade, the distant sound of crashing thunder, symbolically represents the beginning of the demise of Romeo as he watches his world collapse around him. As the camera then zooms in on his face, Romeo lets out a loud, guttural scram, suggesting a change in character.
In stark contrast to the loud and fast-paced sound work during Tybalt’s death scene, the importance of Romeo and Juliet’s death is highlighted by the lack of soundtrack. The beginning of the scene starts with a largely minor soundtrack – conveying the sombre atmosphere – as Romeo walks up the church. A crescendo builds up as Romeo walks up the aisle until he is faced with Juliet’s body. The music then consequently fades to allow Romeo to speak to his wife where he softly says the words, ‘My love, my wife.’ As Romeo’s voice echoes through the silence of the church, an atmosphere of tragedy, los and love has creatively been achieved by Luhrmann. Furthermore, the loss of the background noise (for example; helicopters) in the church symbolises that he couple are free to live their own life together. As the scene progresses, the echoes of Juliet’s emotional sobs convey the the scale of the tragedy. However, it sons quietens as Juliet contemplates her actions whereby after, there is little sound. The piercing gunshot captures the audience’s attention but also their emotions as the gun shot signposts the end to the feud between the houses, as two young innocents are laid to rest. The end of the scene consists of a soaring romantic sound track played over edited shots of the ill fated couple during happier times. Luhrnamm has used this technique to play with the audiences emotions to provoke a reaction.
A further media technique which the director utilises is representation. During Romeo and Juliet’s death scene, Luhrmann has deliberately used representation appropriate for death. There are many examples of religious imagery to highlight the themes of fate and forgiveness along with thousands of candles, creating a shrine which is ultimately representative of Juliet’s death bed. The theme of love is conveyed by the wedding dress and ring along with the couple’s final loving embrace. Luhrmann’s use of costume allows Juliet’s purity, innocence and fragility to be conveyed by dressing her in a white wedding gown. Similarly, Romeo is dressed in a bright, colourful shirt again to show the couple were always doomed from the outset as he once again looks like a Monatgue. The gun which Juliet used to kill herself is representative as the last act of violence between the families. There is, arguably, deliberately no religious insignia but behind the couple, there is a large statue of Mary overlooking the couple with ever watchful eyes.
Luhrmann’s effective use of representation can also be seen during the scene of Tybalt’s death. From the beginning of Romeo and Juliet’s love, water has always been the couple’s sanctuary. Therefore, as Romeo shoots Tybalt dead and he collapses into the water, his blood discolours the water, consequently tainting Romeo and Juliet’s love as water is their sanctuary. As the scene is set in front of a church, an ‘almighty’ statue of Jesus looks down on Romeo and Tybalt as they fight. This, therefore, represents the eyes of retribution are on them and sacrifice is now inevitable. Later in the scene, as Tybalt floats dead, Romeo looks up to the statue as he seeks forgiveness for his actions. In the background of the set, scaffolding represents the repair which is needed to the statue and to Romeo as he has just created serious damage which he cannot feasibly fix.
Throughout his 1996 film, ‘Romeo and Juliet’, Luhrmann illustratively employs many media techniques to re-reveal the Shakespearean classic. By choosing to utilise a modern setting with familiar, contemporary props, Luhrmann has creatively re-told the timeless love story but adapted it to make it accessible and understandable to a younger audience. The BBC has described the film as visionary: ‘Luhrmann’s flamboyant direction pumps new life into a well known, much adapted tale.’ He has achieved this by the illustrative use of media techniques such as mise-on-scene, camera shots and angles, lighting and diegetic and non-diegetic sound. This has helped convey the themes of love, sacrifice, despair, passion and vengeance, present in Shakespeare’s classic love story. After comparing the scenes of Tyblat’s and Romeo and Juliet’s death, the effective use of these techniques to convey the themes within the play can be easily recognised. Luhrmann’s ‘bold and vigorous adaption’ (according to the BBC) of William Shakespeare’s ‘Romeo and Juliet’ has given the classic love story a new lease of life as the filmic techniques used allow the 1996 film to become timeless.
Do remember that you can ask me any questions about this essay before draft one is due on the 10th November.
