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Romeo and Juliet (1968)

PG | | Drama, Romance | 8 October 1968 (USA)
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When two young members of feuding families meet, forbidden love ensues.

Director:

Franco Zeffirelli

Writers:

William Shakespeare (play), Franco Brusati (screenplay) | 2 more credits »
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Popularity
3,675 ( 93)
Won 2 Oscars. Another 14 wins & 15 nominations. See more awards »

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Cast

Cast overview, first billed only:
Leonard Whiting ... Romeo
Olivia Hussey ... Juliet
John McEnery ... Mercutio
Milo O'Shea ... Friar Laurence
Pat Heywood Pat Heywood ... The Nurse
Robert Stephens ... The Prince
Michael York ... Tybalt
Bruce Robinson ... Benvolio
Paul Hardwick ... Lord Capulet
Natasha Parry ... Lady Capulet
Antonio Pierfederici Antonio Pierfederici ... Lord Montague
Esmeralda Ruspoli Esmeralda Ruspoli ... Lady Montague
Roberto Bisacco ... Lord Paris
Roy Holder ... Peter
Keith Skinner ... Balthazar
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Storyline

Against the backdrop of a venomous feud between the powerful clans of the Montagues and the Capulets in the medieval city of Verona, William Shakespeare's eternal story of teenage love unfolds. As youth's insolence arms the charming young Montague, Romeo, with dauntless courage to come uninvited to the Capulets' scintillating masked ball, a brief but thrilling encounter with the delicate dark-haired Capulet, Juliet, will pave the way for an ardent passion and a cruel romantic tragedy. Before God, the star-crossed lovers have sworn never-ending devotion despite their perilous plight; however, before the grim machinations of fate, man stands powerless. Are Romeo and Juliet destined to be together? Written by Nick Riganas

Plot Summary | Add Synopsis

Taglines:

The 1968 Royal Film Performance [UK Theatrical] See more »

Genres:

Drama | Romance

Certificate:

PG | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

UK | Italy

Language:

English | French

Release Date:

8 October 1968 (USA) See more »

Also Known As:

William Shakespeare's Romeo and Juliet See more »

Filming Locations:

Viterbo, Lazio, Italy See more »

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Box Office

Cumulative Worldwide Gross:

$6,292
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

| (initial release)

Sound Mix:

Mono

Color:

Color (Technicolor)

Aspect Ratio:

1.66 : 1
See full technical specs »
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Did You Know?

Trivia

Bruce Robinson (Benvolio) concentrated on screenwriting, earning an Oscar nomination for The Killing Fields (1984). When he wrote and directed Withnail & I (1987), he based the Uncle Monty character on director Franco Zeffirelli, who had constantly pursued and attempted to woo Robinson during the making of this movie. See more »

Goofs

When Romeo and Benvolio arrive at the Capulet's ball, Benvolios's love interest is seen standing in one place. In the next shot she's seen walking around and in the next shot she is seen standing in the same place she was before she began walking around. See more »

Quotes

[first lines]
Narrator: 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 Whose misadventured piteous overthrows do with their deaths bury their parents' strife.
See more »

Alternate Versions

In the film's original release, and on DVD, the "End Titles" music continues playing on a black screen after the closing credits have ended, much as "Exit Music" used to do in roadshow releases of films. As currently (2009) shown on cable TV, however, there is an edit on the soundtrack (not on the picture) during the closing credits, so that the music ends exactly at the same time that the visual portion of the film does. See more »

Connections

Version of Cultural Menace (2004) See more »

Soundtracks

What Is Youth?
Music by Nino Rota
Lyric by Eugene Walter
Vocal by Glen Weston
See more »

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User Reviews

Keeps Some of the Poetry
19 June 2000 | by tedgSee all my reviews

Zefferelli is a sporadic master. Here he is in his prime. See how he understands how to direct groups, how to continue a motion from one frame to the next, how to use color to punctuate.

What has happened here is that he has hit on a formula that works toward the problem of moving Shakespeare (a verbal, intellectual event) into film (a matter of motion and image).

It works because the play can be cast largely in terms of crowds, sometimes mobs. Never have I seen this done so well.

Much of the verbal poetry is cut, and image poetry replaced in sufficient measure to satisfy. Mercutio is rightly seen as the heart of the play, balanced by the Nurse. Both are terrific.

Oh how I wish we could combine the cinematic skills of young Zefferelli with the Shakespearian insights of Branagh and the imagination of Greenaway to do, say a Lear. Bliss in the imagining.


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