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Romeo + Juliet (1996)

 -  Drama | Romance  -  1 November 1996 (USA)
6.9
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Ratings: 6.9/10 from 136,383 users   Metascore: 60/100
Reviews: 491 user | 99 critic | 20 from Metacritic.com

Shakespeare's famous play is updated to the hip modern suburb of Verona still retaining its original dialogue.

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Title: Romeo + Juliet (1996)

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Nominated for 1 Oscar. Another 13 wins & 22 nominations. See more awards »

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Storyline

Shakespeare's famous play is updated to the hip modern suburb of Verona still retaining its original dialogue. The gun-toting members of the families wage a vicious war on the streets as the star-crossed lovers meet their tragic destiny. Written by Alexander Lum <aj_lum@postoffice.utas.edu.au>

Plot Summary | Plot Synopsis

Taglines:

Hope & Despair. Tragedy & Love. Romeo & Juliet. See more »

Genres:

Drama | Romance

Motion Picture Rating (MPAA)

Rated PG-13 for scenes of contemporary violence and some sensuality | See all certifications »

Parents Guide:

 »
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Details

Country:

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Release Date:

1 November 1996 (USA)  »

Also Known As:

William Shakespeare's Romeo + Juliet  »

Filming Locations:

 »

Box Office

Budget:

$14,500,000 (estimated)

Opening Weekend:

ITL 692,167,000 (Italy) (28 February 1997)

Gross:

ITL 3,795,630,000 (Italy) (2 May 1997)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

| |

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

There are various billboards, advertisements and magazines throughout the movie that contain quotes from other William Shakespeare plays: (I.i.1 = Act, scene and line number)
  • 'Shoot forth thunder' (the gun advert) is from 'The Second Part of King Henry the Sixth', IV.i.109.


  • 'Experience is by industry achiev'd' (in the Capulet lift) is from 'The Two Gentlemen of Verona', I.iii.25


  • 'Such stuff as dreams are made on' (another advert) is from 'The Tempest', IV.i.168-169. Prospero (the name of the drink in the advert) is the player who says these lines.


  • 'Add more fuel to your fire' (sign at gas station) is from 'The Third Part of King Henry the Sixth' V.iv.70


  • 'Retail'd to posterity' (Montague corporate poster) is from 'Richard the Third' III.i.77


  • 'A rash fierce blaze of riot' (newspaper headline seen through flames at the end of the gas station scene) is from 'Richard the Second' II.i.34


  • 'I am thy pistol and thy friend' (gun poster in the pool hall, which is named the Globe after after the Globe Theatre in London where Shakespeare's plays were first performed) is from 'The Second Part of King Henry the Fourth' V.iii.85


See more »

Goofs

The length of Tybalt's cigar at the beginning of the movie. See more »

Quotes

[first lines]
Anchorwoman: Two households, both alike in dignity. In Fair Verona where we lay our scene. From ancient grudge break to new mutiny. Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes, a pair of star-crossed lovers take their life.
See more »

Connections

Referenced in At the Movies: Episode #5.41 (2008) See more »

Soundtracks

Symphony No. 25
Performed by Capella Istropolitana
Written by Wolfgang Amadeus Mozart
Courtesy of Naxos of America
by arrangement with Source/Q
See more »

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User Reviews

Poetry to Visual Affect
16 June 2000 | by (Virginia Beach) – See all my reviews

This is not Shakespeare's best play, but it has his best poetry; that's because the play is ABOUT language, about the difference between what something is and the language used to describe it. So among the plays, this may be one of the hardest to film. But alas it suffers from another blessing which is also a curse: the story itself is so powerful that one can build any sort of film or play or whatever around it and have it be likely to work. Thus, we often lose the language.

Zefrelli made his own choices in the earlier film; these were relatively conventional. While it cut some valuable language, sacrificed to the gods of contemporary patience, it is by far the better version. But here we have some interesting choices.

First the setting. Italians to Shakespeare's England were a comical people, and his setting of the play there would have encouraged the audience to bring heavy stereotypes to the drama. Latins in his day were considered: Foppish: Quick to violence (a stereotype that has been inherited by blacks today, but to Londoners, Italians were nearly Africans): Incredibly proud especially as regards slights to masculinity: Obsessed with weapons.

Today, we roll those up under the relatively crude notion of stupid Latin macho. In this film, the director has exaggerated the Latin macho ethic to have the same effect 16th century Londoners would get. It works because these stereotypes are powerful memes which attract many hosts which perpetuate their underlying truth. Baz adds the additional dimension of the people being captured by the superstitious underbelly of the Church.

He deliberately straddles the border between apparent truth and satire. These Latins are superficial visually and not verbally. So here is the solution to the problem on how to make a film (which is primarily a visual medium) out of a play that leverages poetic language. The solution is to convert all the metaphors from language to vision. Hence the much-noted lack of poetry. I imagine Baz directing the players to not worry so much about the poetry.

Both Romeo and Juliet are incapable of performing the poetry anyway: they are children learning on the job. And what acting skill they have from film is all in the face, not the tongue. They are pretty enough though.

I like this film for its boldness. Some of the experiment works since we get the message of the difference between what we see and what is true. This is why Juliet has to see a LIVE Romeo at the end. Living under water is used to good effect. But in the real play, there are so many and such subtle explorations of the theme, and these are scoured away here for a few broad effects. The real message, which comes through loud and clear if you know the play (or even Zefrelli's film) is not the distance between the reality of events and the language, but the reality of the richness of the real play and this film. Equally vast. Equally powerful statement. So we have a playhouse with the back part blasted out to the sea.

As a separate matter, the play has three anchors: Mercutio, the Friar and the Nurse. These are handled interestingly here.

The Friar is an alchemical master hiding under the cloak of the Church. The play equates the magic of language with the magic of potions, equally deadly. The congruence is lost in this film, but Baz definitely gets the magic part as well as the superfluous ritual of the church. This friar is a terrific, memorable performance of someone who believes he can defeat nature. Serves as an anchor as intended.

The Nurse is the true domestic, raw nature, full of uncompromised loyalty but ultimately compromised. Her character is lost here. We NEED to know about the dead sister and why the nurse turns on Juliet in order to save her life. Baz fails here, and so provides no center. For Shakespeare, she's the white space on the palette.

Mercutio in the play is a emotionally engaged visionary mystic. We understand that Romeo and Mercutio studied magic (`philosophy') abroad together much as Hamlet and Horatio had. The dream they shared the night before is the axis of the whole action: rather like the magic of the witches in Macbeth. Baz gets this as well: Modern magic is what? Drugs. So Hamlet is given a psychotropic by Mercutio before going to the party. Works for me, because it allows everything to be visually blasted and inexorably tragic. The whole thing after the party is a trip, see? It is why they can meet, become entranced and arrange marriage after an hour or two. (Remember that until this point Romeo is hopelessly smitten by Roseline.)

Anyone who wrestles with problems of filming the Bard and comes out alive deserves my respect. This is a weird interpretation, but that's the point.


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