Romeo And Juliet: From Play To Big Screen Essay, Research Paper

Romeo and Juliet: From Play to Big Screen

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In 1596, William Shakespeare published the tragic narrative of two star-crossed lovers, Romeo and Juliet. The beginnings of this narrative are unsure but Shakespeare & # 8217 ; s main beginning for his acceptance of the narrative was from & # 8220 ; & # 8230 ; The Tragicall Historye of Romeus and Juliet, a verse form by Arthur Brooke ( 1562 ) . He besides knew the narrative from Palace of Pleasure, by William Painter, which appeared in several editions prior to 1580. & # 8221 ; ( Boyce 563 ) Shakespeare & # 8217 ; s authoritative narrative is about & # 8220 ; two immature lovers caught in the crossfire of a mindless household feud. & # 8221 ; ( Shakespeare 3 ) This feud between the two households finally is the cause of the two lovers prematurely demise. In 1996, Baz Luhrmann produced a modern movie of the authoritative calamity entitled William Shakespeare & # 8217 ; s Romeo + Juliet. Adding familiar images and common thoughts, Luhrmann brought the authoritative narrative to modern times. Though Romeo + Juliet has many differences from the original version from Shakespeare, it supports the original characters, subjects, duologue, and cardinal issues of the authoritative narrative of the star-crossed lovers.

There were many differences among the two narratives, among these differences were puting, arms, the authoritative & # 8220 ; Balcony Scene, & # 8221 ; other new acceptances to the movie, the concentration on the chief characters of Romeo and Juliet, and the execution of imagination to the plot line. First, the scene of the narrative is likely one of the biggest differences between the two narratives. The original version of the narrative is set in Verona, Italy. The newer version is set in a fabricated Verona Beach, California, a metropolis with the visual aspect of modern twenty-four hours Los Angeles after a public violence. The new environment gives acquaintance to the spectator, leting them to associate to the state of affairs at manus, conveying it to a modern clip. Another alteration to the narrative was the arms used within the narrative. The original narrative used stickers as arms whereas the newer version uses guns ( suitably titled blade, sticker, etc. ) . The celebrated & # 8220 ; Balcony Scene, & # 8221 ; where Romeo and Juliet avow their love to each other was dramatically changed in many facets. In the original version, Juliet appears on the balcony and utters the celebrated words & # 8220 ; O Romeo, Romeo! Wherefore art 1000 Romeo? & # 8221 ; ( Shakespeare 45 ) Juliet so goes into the address about names, inquiring Romeo to deny his male parents name. Romeo is concealing in the shadows below and hears the words of Juliet. After hearing Juliet & # 8217 ; s speech Romeo stairss into the visible radiation. Romeo and Juliet profess their love for each other and they plan to acquire married in secretiveness. This is a really romantic and heart-filled scene. The new version, on the other manus, takes topographic point in the pool of the Capulet & # 8217 ; s place. The same duologue is spoken between the two lovers but the gender of the movie takes off from the true romanticism of the original drama. Lone portion of the scene takes topographic point on the balcony. Merely where Juliet is stating Romeo goodnight takes topographic point on the balcony. This, in portion, takes off from the narrative. Many things in the new version were changed to do the passage from old times to new. Guns, missive messenger services, autos, drugs, and police officers all replace blades, couriers, Monarchs, and the Watch. These modern elements neither take away nor add to the plot line. When the character & # 8217 ; s battle with blades in the original drama, the audience understands the magnitude of the hate between the two households. This same magnitude is conveyed when the characters fight with guns. Because the drama focuses on the feuding households and the desires Romeo and Juliet have for each other, clip alterations, props alterations, and little duologue, action, and scene alterations does non do a significant difference in the overall secret plan of the narrative. One facet of the drama that truly bothered many Shakespeare fans was the alteration of the significance of Mercutio & # 8217 ; s Queen Mab address. Mercutio & # 8217 ; s long address about Queen Mab in the original version, harmonizing to Robert Evans, & # 8220 ; nowadayss what were the chief grounds for marriage- money, topographic point, and love- and so presents what in the surroundings of Romeo and Juliet was a principle destructive force- violence. & # 8221 ; ( Evans 79 ) In the new version, Mercutio is simply mentioning to a mood-altering drug called Ecstasy. Besides, in the new version, the two house & # 8217 ; s loyal retainers were portrayed more as pack members.

Among some of the other alterations in the narrative, there was besides a great trade of concentration over the chief characters of Romeo and Juliet. The original narrative has many scenes where other people have conversations. In the new version, most of these scenes have been omitted, likely to maintain the focal point on the chief narrative. Imagery is besides a large difference between the original and new versions. The new version of the narrative has strong images to back up chief thoughts and assist the spectator maintain up with narrative whether they understand the duologue or non. The old version leaves the reader with a batch to calculate out and frequently confused.

Though there were many differences between the two narratives, the similitudes outnumbered the differences. The movie, in fact, is merely a modernised version of the original narrative. The new version contains all the original chief characters. Romeo is the lone boy of the Montague household. He falls in love with Juliet and returns to get married her. He is a tragic character. He is immature, headlong, and emotional. These qualities finally lead to his decease. Juliet is the girl of the Capulet household. She falls in love with Romeo. She believes that matrimony should be out of lo

ve non out of necessity. She is besides can be characterized as hasty and immature. Lord Capulet is Juliet’s father. He is a rigorous, rough, non-understanding adult male. He wishes Juliet to get married Paris and arranges so. Lady Montague is Romeo’s female parent. She is really busy and rigorous. Lord Montague is Romeo’s father. He is really obstinate and non willing to forgive and stop the feud. Paris is a kinsman to the Prince. He cares about Juliet and wants to get married her. The Prince is the prince of Verona. The Prince is fed up with the changeless wrangles between the two households and wants to name a armistice between the two households and stop the feud. Friar Lawrence is the priest in Verona. He marries Romeo and Juliet in secretiveness trusting it will unify the two households, alternatively it causes more convulsion. He besides gives Juliet the kiping potion. Juliet’s Nurse cared for Juliet throughout her childhood. She merely wants Juliet to be happy. Mercutio is Romeo’s best friend. Mercutio isn’t for either of the houses and at the clip of his decease curses both houses.

Both narratives support the same cardinal subjects every bit good. Subjects play a strong portion in the original narrative every bit good as the film. Most noteworthy are the subjects of love and destiny. The drama develops the subject of love through contrast. On one manus, there is Romeo & # 8217 ; s infatuation with Rosaline and the ordered matrimony of Paris and Juliet. On the other is the & # 8220 ; pure & # 8221 ; true love of Romeo and Juliet. The drama shows this chiefly through their actions and their romantic addresss to one another. The film develops the subject of love the same manner, but with the extra turn of incest ( Tybalt and Lady Capulet ) and homosexualism ( Mercutio ) . The subject of destiny about disappears, nevertheless. The drama shows many forebodings of calamity to Romeo, Juliet, and the Friar. There are besides several events beyond their control, such as the feud between the two households, the pestilence, and the ordered matrimony of Paris and Juliet. In the film, Romeo fails to detect the reception of the missive from Friar Lawrence. Near the terminal of the film, Romeo fails to detect that Juliet is traveling and that she is still warm. Therefore destiny is mistaken through sheer ignorance to the obvious. There were many cardinal issues in both versions thatplay a important portion in the events of the narrative. Feuding is one of the cardinal issues that lead to the calamity of Romeo and Juliet. Had the two households non been feuding, the state of affairs ne’er would hold existed. Dreams were besides a large issue in the narrative. Had Romeo heeded the warnings of his forebodings he could hold avoided his decease. There were besides the issues of determinations, forfeits, stereotypes, and destiny.

Over 400 old ages ago Shakespeare wrote a authoritative narrative that has been retold for centuries. This new version is merely a modern acceptance of the authoritative narrative of the two star crossed lovers. The histrions featured in Luhrmann & # 8217 ; s movie did an first-class occupation in portraying the two immature lovers. Throughout the movie, Shakespeare & # 8217 ; s poetic linguistic communication is spoken about direct. But the terrific dramatis personae, led by Leonardo DiCaprio and Claire Danes, follows the well-known duologue with nary an English speech pattern. Nonetheless, DiCaprio and Danes on-screen chemical science transcends the antediluvian linguistic communication to bring forth the beautiful and tragic love narrative for today & # 8217 ; s film traveling audiences. Harmonizing to George Bernard Shaw playing the parts of Romeo and Juliet is & # 8220 ; about impossible, except to histrions of pure mastermind, skilled to the last grade in metrical declamation, by the manner in which the poesy, magnificent as it is, is interlarded by the suffering rhetoric and cockamamie logical amour propres which were the idiosyncrasy of the Elizabethans. When Juliet comes out on her balcony and, holding propounded the inquiry, & # 8220 ; What & # 8217 ; s in a name? & # 8221 ; returns to arguer it out like an recreational lawyer in Christmas-card poetry of the & # 8220 ; rose by any other name & # 8221 ; order, no actress can do it look natural to a century which has discovered the art of giving drawn-out and intense dramatic look to pure experiencing entirely, without any skeleton of statement or narrative, by agencies of music. Romeo has lines that tighten the bosom or gimmick you up in to the highs, alternately with hardhearted fustian and cockamamie inventivenesss that make you curse Shakespeare & # 8217 ; s stagestruckness and his vernal inability to maintain his encephalons quiet. & # 8221 ; ( Bloom 37 ) Though certain facets are changed, the narrative remains attractively sound and serves as a authoritative illustration of the power of love. The new version, in my sentiment, is the better version of the narrative. Not merely does it picture the original narrative, it adds ocular stimulation to assist pull the reader in. But the narratives still have their similarities. Though Romeo + Juliet has many differences from the original version from Shakespeare, it supports the original characters, subjects, duologue, and cardinal issues of the authoritative narrative of the star-crossed lovers.

Bibliography

Romeo and Juliet: From Play to Big Screen

Bloom, Harold. Bloom & # 8217 ; s Reappraisals: William Shakespeare & # 8217 ; s Romeo and Juliet. Broomall,

Dad: Chelsea House Publishers, 1998.

Critical Essays on Shakespeare & # 8217 ; s Romeo and Juliet. Ed. Joseph A. Porter. New York:

G.K. Hall & amp ; Co. , 1997

Evans, Robert O. The Osier Cage. Lexington: The University of Kentucky Press, 1966.

William Shakespeare & # 8217 ; s Romeo + Juliet. Dir. Baz Luhrmann. Perf. Leonardo DiCaprio,

Claire Danes. Twentieth Century Fox, 1996.

Shakespeare, William. Romeo and Juliet. Ed. John E. Hankins. New York: Scholastic

Inc. , 1969.

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