Romeo + Juliet: Cheat Sheet | Movie News | SBS Movies
Romeo and Juliet first meet when they're hanging out in the bathrooms . To bring it into the comparison of lyrics to a song, Shakespeare often. Q: What is the dance song that plays after Romeo finds out Juliet is dead and then gets into his car? from kath in canada (answer kath's question). Q: On the. one of my complicated feelings towards a man whom I would never actually meet. Twenty years later and the Romeo + Juliet soundtack is still breathtaking. The diverse choice of songs on the soundtrack all perfectly evoke the hypes up that invincible feeling that comes with the first rush of a new love.
Instead, the characters carry around firearms, mostly pistols, some of which have the family emblems on them, as well as religious imagery, depending on the character.
Instead, they say sword, and other variations.
Romeo & Juliet Soundtrack by Various Artists on Spotify
The story goes that Luhrmann was looking for his Romeo, and at some point came across a paparazzi photo—not a head shot or anything professional, something more candid and tabloid friendly. He was extremely passionate about it. To bring it into the comparison of lyrics to a song, Shakespeare often wrote dialogue in such a way, so that sentences start but continue with a rhythm. Indeed, the act of rhythm is intentional— Shakespeare employed blank verse, often in iambic pentameter. When spoken out loud, the dialogue almost sounds like a song, with characters almost rhyming and occasionally, actually rhyming.
So other than the dialogue of Shakespeare being intensely poetic, with multiple meanings, metaphors, and so on, it was also meant to have a noticeable rhythm to it all.
Truth be told, the dialogue is often intentionally recited as it were normal conversation, which makes sense for most of the characters, as well as the scenes portrayed. As it turns out, the only character that seems to be speaking in iambic pentameter is Father Laurence. Played by Pete Postlethwaite, he brings a serious gravitas to the role, one that is emphasized greatly by his delivery of dialogue.
On stage or on the screen, Brando is often seen as magnetic and engaging, as well as haunting and foreboding, depending on the movie. The idea of such a strong presence in this film is pretty exciting, as it surely was for Luhrmann at the time.
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But between all that, a couple things happened. They are aware at all times that they are watching a movie. After the opening narration — delivered by a television news anchor — we are launched into a vivid world of bright colours, quick cuts and broad comedy.
The net effect is overwhelming: The artificiality remains but the depth of feeling is real — and so it is throughout. That duality — between contrivance and truth — is integral to his adaptation, as seen in two recurring motifs: But what of the religious imagery? Perhaps the ubiquity of these symbols is in fact the point.
Garish, overused and coupled with weaponry, this is a world where religion is universally espoused yet stripped of meaning. These icons represents the dogma and hypocrisy of a repressive society. Romeo and Juliet, then, present an opportunity to enact the Christian principles their parents advocate: Not until their deaths. Romeo is, as mentioned, first seen by the sea. Juliet is introduced immersed in water.
Most of the dialogue in the famous balcony scene occurs not with the lovers separated by a balcony, but immersed in the waters of the Capulet swimming pool.
Water, then, seems to be another one of the many metaphors for love; transparent and pure and beautiful. This is apparent when Romeo murders Tybalt, who falls into a previously unseen artificial pond.
As Romeo absorbs the magnitude of his actions, a storm rolls in an actual hurricane, in fact, one that demolished the beach set. The sky opens up — water marking tragedy, love begetting violence.