I wrote a film review for a class several semesters ago and thought Iād post it. We had to follow a specific template, so I hope this isnāt too difficult to read.
Film Review: Romeo and Juliet (1968)
Bruce Robinson wrote the screenplays for two influential films: The Killing Fields (1984) and Withnail and I (1987). The Killing Fields is about the Cambodian genocide of the 1970s. Withnail and I is a comedy about two destitute young actors in the 1960s. Killing Fields concludes with John Lennonās idealistic āImagine.ā Withnail concludes with a Shakespearean soliloquy. Both films are acclaimed as masterpieces in their own rite: Killing Fields for its brutal poignancy while preserving a core of tenderness and sensitivity; Withnail for its dry and self-deprecatingly witty portrait of young people with classical aspirations amid squalor. However, the general public is far more familiar with another film that Robinson worked onā a film which is both about young people eloquently struggling to maintain their individuality in the face of desperate circumstances, and is also very much a reflection of the violent realities of the late 1960s that bled into the 1970s amidst the age of āPeace and Love.ā
Romeo and Juliet (1968) was directed by Franco Zeffirelli under Paramount Pictures. The film is an adaptation of the William Shakespeare play which was written between 1591-1595. The screenplay was adapted by Zeffirelli, Franco Brusati, and Masolino DāAmico. It stars: Olivia Hussey as Juliet, Leonard Whiting as Romeo, Michael York as Tybalt, John McEnery as Mercutio, Bruce Robinson as Benvolio, Pat Heywood as the Nurse, Milo OāShea as Friar Laurence, Robert Stephens as the Prince, Natasha Parry as Lady Capulet, Paul Hardwick as Lord Capulet.
The film seamlessly combines the elements of a traditional Shakespearean period film with the energy of its young leading characters. The production value found in the detailed costumes, authenticity of the Italian setting, and the training necessary for the fencing duels set the framework of an impressively crafted film. However, what truly makes the film come alive is its cast and the way it utilizes their vitality and exuberance. This skillful insertion of young actors into a highly researched and expertly constructed Shakespearean period film perfectly creates a world that looks and feels totally inhabited. The characters and events of the film have a sense of excitement and urgency that few other screen adaptations of Shakespeareās plays have been able to rival.
The central theme of the film is the fragility of youth in spite of its passion and bravado. If youthful exuberance is not provided with a viable outlet, is mistreated and not nurtured, that energy self-implodes. Each character is grappling in some way with youth. Even the adults are dealing with what they did when they were young, what was expected of them, and what they expect of young people. For example, Friar Lawerance expects Romeo to be wise and cautious. Lord and Lady Capulet hypocritically expect Juliet to marry Paris even though Capulet says ātoo soon marred are those so early made.ā Some characters like Mercutio deny or rebel against social dictates and expectation. Others accept it and try to reconcile it with some grace, like Friar Lawerance and Benvolio. Romeo and Juliet however, revel in their youth and the time they have together.
The key moment of the film is the balcony scene. The scene begins when Romeo, having just snuck away from his friends, happens into a secluded area of the Capulet grounds that is thick with trees, shrubbery, and vines. As composer Nino Rotaās soft and delicate āLove Themeā plays, the camera follows Romeoās point of view, past the overgrowth, to reveal Juliet alone on the balcony. Julietās skin tone and the simplicity of her dress match the bare unadorned pale walls of the mansionās exterior. This is the first time in the film Juliet is shown with her hair down, and her beauty is complimented by the lush and verdant plant life that frames her. All this suggests that Juliet is a part of the natural world, apart from the violence and rigidity of Veronese society. It feels as though Romeo has truly made some totally new discovery in finding her. Likewise, in reflecting upon her meeting with Romeo, Juliet discovers her own emotions and sensuality. Whittingās athleticism is also displayed as he climbs over a wall, climbs a tree, and jumps from the tree onto the edge of Julietās balcony. The actors are wonderfully able to channel physicality, passion, and excitement into the scene.
The major criticism against the movie is of Hussey and Whittingās performances regarding the filmās more tragic elements, and their performancesā reliance on buttressing from the filmās other actors who possess more training and experience. However, Hussey and Whittingās ability to portray excitement and passion far surpasses any negative criticism wielded against their performances. Their telegenic qualities and the chemistry they have with everything from other actors to the scenery, makes their performances paramount to the filmās success. This energy makes the plotās unfolding events feel relevant and urgent in spite of the opening narration revealing that the film will conclude with the titular coupleās deaths.
Lastly, at the time of its release, the filmās juxtaposition of pointless violence against love and beauty resonated with audiences as they witnessed televised footage of Americaās military involvement in Vietnam and the Flower Power movement. The needlessness of Veronaās bloody street brawls voiced by the Prince echoed how many felt about the Vietnam War. Julietās long hair lent itself to the naturalism that hippie counterculture aspired to, and the hairstyles of the young Capulet and Montague men are suggestive of Beatle haircuts and mod fashion. The filmās ability to simultaneously capture Renaissance Italy and the late 1960s tells of how well in tune Zeffirelli was with what was happening in the world.
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