The Astounding Perils of Young Love Has Been Eloquently Captured in the Story of Young

"A Comparison of Directors"

Susan A. Loeffler

329-70-1474

March 17, 1998

Dr. Ron Strickland--English 100

The astounding perils of young love has been eloquently captured in the story of young Romeo and Juliet. "A pair of star crossed lovers" first lay eyes on each other at the Capulet party, and find that their instantaneous love for each other is forbidden simply because of the hate that has grown between their families for years. Romeo, a Montague, is considered a sworn enemy to Juliet, a Capulet, and therefore this love they have stumbled upon must remain a secret. Mesmerized by Juliet's existence, Romeo sneaks to her window to see her again, only to find that she is there, daydreaming of him.

Franco Zefferelli and Baz Luhrmann are the creators of the two most renowned film adaptations of William Shakespeare's Romeo and Juliet. Zefferelli, the more traditional director, created his Oscar winning version in 1968. Baz Luhrmann put an abstract, modern twist on Shakespeare's classic and created the 1996 version that raised millions of dollars in box office sales. Being that these two films are so different, I have chosen to compare them to one another, using the famed balcony scene as my focus.

In the Franco Zefferelli adaptation, proceeding the extravagant Capulet party, Romeo walks down a dark stone path alone with his very boisterous friends trailing closely behind him. They sound drunken and unruly so Romeo seeks refuge from them by climbing rocks into a nearby forest. He pauses in the darkness to listen to his confidants joke about how fantastic a lover Romeo is, and he smiles in amusement at the contents of their commotion. Traveling deeper into the foliage, Romeo sees the light pouring from Juliet's window and continues towards it in curiosity. He walks slowly in the darkness until he clearly sees the illuminated palace in which Juliet resides, finding his love leaning on the balcony wall. Juliet wear a white gown which makes her appear very angelic and virginal. Her hair is soft, her eyes sparkle, and her innocence is undeniable. Romeo moves slowly and quietly through the bushes trying to get a better look at her, and, doubting his presence there at that time, he pauses and leans his head against a tree, trying to remain anonymous.

Juliet rests her cheek in her hand as the moon shines down on her young face and she seems isolated. The house behind her appears dark and cold, which represents her relationship with her parents. She vocalizes her love and adoration for Romeo, not knowing that every word she speaks falls upon his ears. Unable to contain his elation about what he has just heard, Romeo leaps from the darkness below the balcony, abruptly startling Juliet. She retreats towards the doorway of her room, feeling violated and unsure about Romeo's presence. She appears angry because of their families' hatred towards eachother. The interaction between them is forbidden, so she turns towards the her room, ready to leave, until she is halted by Romeo's confession. If given the opportunity, he would choose to deny the Montague name so that he may share his life with her. Surprised, Juliet returns to where Romeo awaits her.

During this scene, the soft light continually falls upon Juliet's angelic face, yet Romeo predominantly remains in the darkness, shadowed. This may reference the goodness of the Capulets and the supposed evilness of the Montagues from Juliet's standpoint. The camera is also pointed up during this scene when directed towards Juliet, yet pointed down when directed towards Romeo. Zefferelli may have used these camera angles to show that Juliet is considered someone Romeo admires although he is considered a lesser man by the Capulet family.

As the scene continues, Juliet explains to Romeo the consequences of them being caught together, and as she sadly and amorously gazes at him, he hides behind a tree branch to protect himself. Juliet moves to a dark corner of the balcony to step out of anyone's possible watchful view and Romeo climbs a nearby tree to reach her. He pauses for a moment to soak in the beauty of her being, then leaps from the tree to the balcony as Juliet takes a step away from him, seeming apprehensive. In an unsure manner, she softly touches his hand and they gaze longingly into each others eyes. They kiss and embrace, but with a stunned look Juliet pulls away from him. Romeo's assuring hand reaches for her and she takes it, then explains that she must go. Gently, she touches Romeo's cheek and kisses him on the lips, then on the hand, and turns to depart.

Romeo speaks of a lack of satisfaction and Juliet turns in shock, seeking the definition of his statement. Their palms touch, similarly to the party earlier, with their arms extended, then they embrace again, kissing passionately. As Romeo kisses Juliet's neck she professes her true love for him, only to be interrupted by the nurses call. Telling him to wait at the end of the balcony, Juliet rushes off to see what the nurse needs. An elated Romeo swings form the moonlit tree, acting giddy and childish, filled with joy over what Juliet has shared with him.

Juliet returns promptly to discuss their plans for the next day, then kisses Romeo's palm and says goodnight, giggling and happy. She finds it hard to keep herself away from him as he descends the tree so she continues to speak to him and gaze at him. When he reaches the ground, Romeo leans on a wall below the balcony and explains that he will wait forever for Juliet. She extends her arms towards him and he impulsively climbs back up the tree to hold her and kiss her again. As Juliet laughs coyishly, the camera moves to tree branches with the morning sky behind them, a rooster crows softly in the distance. It is morning, and Romeo again descends the tree with Juliet holding onto his hand. Their hands remain extended toward one another as Romeo moves further into the darkness. They innocently blow each other one last kiss and Juliet returns to he home. Romeo is then shown racing down a hill, jumping and laughing, on his way to tell Friar Lawrence of the young lovers' secret plan.

In Baz Luhrmann's adaptation, the setting is extremely modern. As Romeo and his friends exit the Capulet party, Romeo cannot take his eyes from the enchanting house where he has met the woman of his dreams. Everyone jumps into a waiting convertible, pulling away as the wind blows vigorously and tiny lights sparkle all around them. Unable to control his own impulses, Romeo jumps out of the car and runs into the darkness, still wearing the suit of armor he wore at the masquerade party where he came upon Juliet, dressed as an angel. Romeo climbs a ladder into the dark foliage and descends upon a pool deck. As he moves towards Juliet's window, various lights on the pool deck ignite sporadically and Romeo is startled. He fumbles around trying to find somewhere to hide himself, only being able to hang onto an ivy covered trellace before the elevator doors open and Juliet appears. She does not see Romeo although she is standing very close to him, only a small statue resembling cupid separates them. The lights from within the pool shine brightly, illuminating Juliet's face, as well as Romeo's.

Juliet wears a white gown, suggesting angel-like qualities, as a silver cross hangs from her neck, symbolizing purity. As she speaks of her true love, Romeo, Juliet kneels near the pool and gazes directly into the camera, which is considered looking into the sky, perhaps speaking to God. She rises from the ground and begins to walk along the side of the pool speaking softly, as Romeo follows directly behind her, imaging her every step. Being unaware of his presence, Juliet speaks of her true feelings for this incredible man she has just met, foreseeing the future that would await them if their families' animosity towards each other could only subside. Unable to conceal his presence any longer, Romeo softly speaks to Juliet, startling her and causing her to scream. Both of the young lovers fall into the illuminated pool, which is detected by the security guards, causing them to come and check on the young Capulet woman. As the guard stands at the nearby gate, Romeo submerges himself below the surface of the water to remain unknown. The guard sees Juliet, alone, standing fully clothed in the pool, and they smile warmly at each other as he turns to leave.

Romeo and Juliet stare deeply into eachother's eyes and the camera remains in a close-up to capture their expressions. Juliet looks down upon Romeo as he gently touches her cheek, then kisses her passionately. The water makes this scene more sensual, adding an unusual element that makes these characters appear genuinely attracted to one another. Juliet moves backwards through the water away from Romeo, but he persistently follows her. She turns her back on him and he reaches out to caress her glistening shoulders. As Juliet climbs out of the pool, Romeo stands behind her speaking of satisfaction. With a shocked glare, Juliet questions his motives, and Romeo justifies his statement to her. Impulsively, Juliet goes to Romeo again and kisses him as they fall backward into the water again. Thousands of bubbles rise to the surface as the young lovers kiss underwater until the call of Juliet's nurse is heard. Trying to escape discovery, the couple move to a secluded, dark are of the deck. Juliet then leaves Romeo's side in the darkness and begins up the stairs, while miniature lights twinkle in the background behind her.

When Juliet reaches the balcony she looks out from between two pillars as Romeo climbs up the trellace to kiss her again. The nurse opens the door suddenly and Romeo jumps from the trellace in order to escape prosecution form anyone. He reluctantly walks away from Juliet, very slowly, still watching her window to see if she will return. When Romeo reaches the opposite end of the pool deck, Juliet returns to the balcony and he rushes to her, climbing back up the trellace. With his arm extended he reaches towards her as she drops her silver cross necklace into his awaiting hand. Romeo dashes across the pool deck and climbs over the wall to leave as Juliet turns and says a final goodnight to her lover. Gazing longingly at beautiful Juliet, Romeo waits until he is forced to exit by the nurses bellows. With morning upon him, Romeo leaves the Capulet mansion to seek out Friar Lawrence.

Although there are several parallels related in these films (i.e.. Juliet wears white in both films; Romeo is kept in the darkness frequently in both films), it is apparent to anyone that Franco Zefferelli and Baz Luhrmann had very different interpretations of this pivotal Shakespearean scene. When it comes down to which version is more audience friendly, it is simply a matter of opinion. If an older, more traditional gentleman were choosing a film to view, he may favor Zefferelli's creation. In contrast, if a young, contemporary student were given the choice, Luhrmann would be the favored director because of the very modernized usage in his film. However, there may be various consequences for the directors' choices in relation to the audience experience.

Franco Zefferelli's direction appeals to the traditionalist because it is done in the typical Elizabethan style expected by Shakespeare readers. The actors in his film were predominantly British and spoke the Elizabethan dialect flawlessly. Zefferelli's film was shot entirely within Italy, in such small villages as Tuscany, Umbria, and Lazio (Herndon, home page). Many of the buildings used were true historic sites with deep ancestral ties. The balcony scene in his film was shot at an actual palace built by Cardinal Bourges in the 16th century (Herndon, home page). The award winning costumes were typical attire for those who lived in the 16th century, so the actors' presentation was very traditional and believable.

Baz Luhrmann's direction appeals to the modernist because he uses props familiar to the audience, such as convertible automobiles, functioning elevators, and modern attire. His film is set in "Verona Beach, California", which I came to find out was actually a small part of Mexico. The casting of the play was ethnically diverse, although most characters were American. In Luhrmann's adaptation, the actors spoke the traditional Elizabethan dialect, but it sounded somewhat labored and surreal.

William Shakespeare's Romeo and Juliet has been a literary staple in English classes for many years past, and will be for years to come. Students have learned the story of these "star crossed lovers" and the teenage angst that they have endured, yet I'm sure that few have viewed both of these phenomenal films. Each director, in their own right, is a creative genius. They pushed themselves to create the best interpretation of Romeo and Juliet that they knew how, not knowing what Shakespeare's true directorial intentions were. Whether life is seen through a traditional viewpoint or a contemporary viewpoint, Shakespeare will always remain Shakespeare--a creative genius in the truest sense of the word. If Shakespeare himself were given the opportunity to view Baz Luhrmann and Franco Zefferelli's interpretations of his play, I believe he would be proud.

Works Cited

Herndon, L. (1997). 1968's Romeo and Juliet [internet]

Location:

Luhrmann, B. (1996). William Shakespeare's Romeo+Juliet [Film]

Zefferelli, F. (1968). Romeo and Juliet [Film]