Romeo & Juliet
Director Baz Luhrmann, the man who once staged Puccini's La Boheme by setting it in the 1950s, could hardly be expected to execute Shakespeare in a conventional manner. Shot in urban Mexico, Romeo and Juliet is set in a violent, run-down metropolis filled with gun-toting thugs in fast, slightly futuristic cars. Although on the surface it appears an irreverent treatment of the play, Luhrmann's affection and respect for the work is clear, and this new film proves that Shakespeare's insight into the human experience is as applicable to our time as it was to his.
Admittedly, the opening of the film is off-putting. A bad pastiche of "Carmina Burana" erupts on the soundtrack, as quick zooms and fast dolly shots assault the viewer. Over these images, head shots of all the key characters appear, accompanied by their names and descriptions of who they are (i.e. Ted Montague, Police Captain Prince, etc.). However, these coarse gimmicks soon subside, and Romeo and Juliet becomes an engrossing and ultimately poetic and beautiful film.
The two leads appear to have been chosen more for their popularity with American teenagers than any acting ability. I am frankly of the opinion that the angularity of casual American speech (especially our vulgar, hard "Rs") is not particularly conducive to Shakespearean acting, and as Romeo, Leonardo Dicaprio most decidedly speaks this way throughout the film. Additionally, he is not especially charismatic, but he does at least look the part. As Juliet, Claire Danes is better, projecting such a disarming air of angelic innocence that she is ultimately convincing and entirely captivating as Juliet (though her portrayal does fray just a bit in the extended monologues).
The rest of the cast are good for the most part. Paul Sorvino is wonderful as Capulet (whom he embellishes with an Italian accent). Harold Perrineau as Mercutio is also terrific and very entertaining (contrary to some publicity, Mercutio is NOT a drag queen in this film; rather he attends the Capulet ball in drag since it is a costume party). As Tybalt, John Leguizamo is sufficiently threatening in appearance, but his speech is again a bit coarse for the gracefulness of the dialog. However, Vondie Curtis-Hall as the Prince is wonderful, and his utterance of "All are punished" brought tears to my eyes. Predictably, the two veterans of the British stage, Pete Postlethwaite as Friar Lawrence and Myriam Margolyes as the nurse, are also outstanding and provide some of the best moments.
Fortunately, the unevenness of the performances is smoothed out by the play's dramatic strengths as well as the ambience of Luhr-mann's interpretation. Some of Luhrmann's touches are almost irreverent: the chorus' opening monologue is spoken by a TV announcer. Romeo smokes cigarettes. The "Queen Mab" to which Mercutio refers, is represented as an acid hit which Mercutio gives to Romeo (who then swallows it). Friar Lawrence's choirboys sing choral arrangements of pop songs.
Anyone who requires swordplay and period costuming to enjoy Shakespeare might be disappointed. Admittedly, the absence of swordplay does cost the fight scenes considerably, as gunfights tend to be much quicker and less exciting visually. But despite the contemporary setting, Luhrmann succeeds in evoking all the sensuality and passion of the play, and there are moments of utter beauty in this film.
Zefferelli's will always be the definitive film of Romeo and Juliet, but Luhrmann succeeds in updating the story to make it accessible to younger people reared in transitory aesthetics without sacrificing the integrity of the play. That in itself is a Herculean achievement.
David Appleton
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