Baz Luhrmann and Franco Zeffirelli’s film Essay

Having watched cardinal different scoot modifications of Romeo and Juliet, it is clear to ascertain that the devil directors have apply a number of different techniques, quite differently at times, to put crosswise their disassociateicular interpretations of the wager. These methods and different interpretations argon real app atomic number 18nt if one(a) studies the same painting as exhibited in separately film. We locutioned at Franco Zeffirellis 1970s version of the play and Baz Luhrmanns recent adaptation produced in 1996 and foc personad on their interpretation of the scene whither Romeo and Juliet meet for the starting time.The first function I noticed is that costume is re bothy important in Zeffirellis scene. Juliet, play by Olivia Hussey, is wearing a tralatitious styled red and gold dress, which highlights wealth. It is not as detailed as most at the party which points to the fact that it is not plainly material wealth she has but too the huge aggre gate of natural hit she has. The bright red contrasts with her pale tinct and jet-black hair to make her look in truth striking. Romeos outfit is in ilk manner very noticeable as he is wearing a mask. It adds to the air of mystery story virtually him as Juliet meets him for the first time. It as well as helps to make a point some the reputation of their attraction when she first reckons him, Juliet sees solitary(prenominal) Romeos eyeball, yet is still cadaverous to him. Therefore, here there is something more than corporal attraction. Instead, it seems to be a communion of souls since eyes are often considered to be the windows to this part of ourselves.The choreography of the scene to a fault pick ups something most Romeos feelings towards Juliet. His attention is fixed upon a lady which we assume to be Rosaline who is saltation and then twirls out of shot to reveal Juliet to R0meo. It is here that he proclaims he has never seen true smash until now. It is sh owing to us that although Romeo thought he was in distinguish with Rosaline, it is nothing compared to his feelings for Juliet. When the chance arises for Romeo to join Juliet in a dance, he dismisses some otherwise ladies for the prospect to dance with Juliet. As the move gets faster, bulky shots are used to show the amount of people present at the party. The dancing changes and people begin to spin around in a circle the photographic tv camera shots change, letting people flow sometime(prenominal) the camera at a very high speed.It looks like flashes of tint flitting through the shot no darings potful be seen clearly. The fast dancing reflects the continent excitement that they are feeling, that they are so in love that it is truly exhilarating. It is here that Franco Zeffirelli shows how love at first freshet really pot be true as amongst the madhouse and frivolity of colour, the camera jump cuts to Romeo to the party of moving colour and to Juliet. He has do ne this to show how amongst the chaos of their feuding families, they have their possess world where no one else matters except all(prenominal) other.When the get up starts to sing, Romeo and Juliet speak for the first time. As they do, the speech being sung in the priming have a large parity to their lives. It tells of their willingness to be together but their dispute to make it possible as they are torn apart by their feuding families. As the choreography reflects the emotions of the characters, the score that plays in the Zeffirelli film reflects their emotions again as when Romeo sees Juliet, he sees her beauty and the score changes to a softer, more diffused tune. Franco Zeffirelli contrasts Romeo and Juliet when they are together with the harmony. It changes from loud, phrenetic music to gentle, heavenly tunes, the score changes to a meek key as she is not veritable about him and then surges as they kiss.In the play, Shakespeare also juxtaposes scenes that are cha otic with very calm peaceful ones. As I have said, the score changes as Juliet and Romeo are together and in the play, Shakespeare shows their love by constantly comparing scenes with them in to scenes with fighting, frantic happenings and chaos.In Baz Luhrmanns film adaptation of Romeo and Juliet, the scene I have analyze begins with Romeo played by Leonardo Di Caprio with his face submerged in water, washing his face, which clears his creative thinker of drugs and he sees Juliet in a clearer light. The lovers first contact is a sequence where for each one is on either side of a lavish slant tank car. The lighting used is a pale blue, making it seem slightly surreal, almost dream like. As Romeo and Juliet playfully look at each other through the tank, camera shots slyly portray their meeting to look like they are together inside the tank. In this scene, camera distances vary from medium close-shots to close-ups and  choke again, their eyes are depicted throughout, as t he camera shots change, it portrays them watching each other, discovering each other every feature, every move.The inclination of complaisant and physical hindrances is presented by having the fish tank between the two of them, property them apart thus visualizing to the audience the other aspect of Romeo and Juliets love. The fish tank serves as a physical barrier between the two lovers, even though there are also a lot of emotional barriers. Even though Romeo is dazed from the ecstasy pill and his crushed leather with Rosaline, it is the water that purifies and cleanses his mind and it the free, flowing nature of water that Luhrmann uses as a standard of love.When the two lovers kiss in the lift, the cameras gird them, thus suggesting that Romeo and Juliet are at the sharpen of their own universe, in total tailor or lack of awareness of the social chaos as suggested by the clouded images around them. The way in which the resource of water is used to symbolise their o wn world, camera shots, lighting and music also add to the depth of their love. The beautiful telephone line of Kissing You marks the initial meeting of Romeo and Juliet, and Desrees deep, soulful division glides gently through the house as the strangers playfully observe each other through the fish tank. The score is a brave and eclectic mix of atmospheric music from Radioheads Talk install Host to Wagners Liebstod. The emphasis is on music that is emotive and suitable for a particular scene rather than creating a soundtrack rooted in one musical style as in the Zeffirelli adaptation.The Capulet Ball is one of the most outstanding sequences in the movie. The decorations are spectacular, and the costumes are magnificent. However, the party is not all just glitz and glamour. Upon closer investigation, we can see that it is also a arrant(a) opportunity for Luhrmann to accentuate the individual motivations of the characters with clever use of costumes. Romeo is the knight in twi nkling armour who has been sent to rescue Juliet, and Juliet is a bright angel, innocent and pure, who has been sent to rationalise Romeos confusion and despair. Luhrmann supplements this image by showing Romeo and Juliet as innocent, beautiful and youthful. This is achieved by the continuous focus of the cameras on the luminescence of their skin, their sparkling eyes, flushed cheeks and pink lips in addition to the words of Shakespeare.In conclusion, these two films, although based upon the same play, come across very differently. The fact that Franco Zeffirelli has set his in the time Shakespeare intended it to and Baz Luhrmann has set his in 20th century Verona beach, Florida has a abundant amount to do with these differences. It is interesting to see that both directors have used the fancy of the young couple existing in their own world, although both of them use different techniques to present this, their outcome is portrayed to the viewer the same. Baz Luhrmann has ha d certain advantages to his film as he had engine room to help him portray the initial meaning in a more dream like manner with the help of special lighting and particular camera shots. Also, this adaptation was a major(ip) Hollywood blockbuster with millions of dollars to be washed-out on it. Whereas, 40 years ago, I imagine that Franco Zeffirelli would have had to deal with a budget and obviously, did not have the technology to portray special effects and sounds.