Romeo and Juliet on screen

Source: Wikipedia, the free encyclopedia.
See also:
Shakespeare on screen and List of films based on Romeo and Juliet
Juliet in the balcony scene of S4C's Shakespeare: The Animated Tales version of Romeo and Juliet.

Leslie Howard as the teenage lovers while Zeffirelli populated his film with beautiful young people, and Baz Luhrmann produced a heavily cut fast-paced version aimed at teenage audiences.[1]

Several reworkings of the story have also been filmed, most notably West Side Story, Prokofiev's ballet Romeo and Juliet and Romanoff and Juliet. Several theatrical films, such as Shakespeare in Love and Romeo Must Die, consciously use elements of Shakespeare's plot.

Significant feature releases

George Cukor / MGM (1936)

Norma Shearer as Juliet in the balcony scene of George Cukor's 1936 Romeo and Juliet.
Main article: Romeo and Juliet (1936 film)

Producer

William Strunk, Jr. of Cornell) were flown to the set, with instructions to criticise the production freely.[4] The film includes two songs drawn from other plays by Shakespeare: "Come Away Death" from Twelfth Night and "Honour, Riches, Marriage, Blessing" from The Tempest.[5] Thalberg had only one choice for director: George Cukor, who was known as "the women's director". Thalberg's vision was that the performance of Norma Shearer, his wife, would dominate the picture.[4]

Leslie Howard as Romeo and Norma Shearer as Juliet, in the 1936 MGM film directed by George Cukor.

Scholar Stephen Orgel describes Cukor's film as "largely miscast ... with a preposterously mature pair of lovers in Leslie Howard and Norma Shearer, and an elderly John Barrymore as a stagey Mercutio decades out of date."[6] Barrymore was in his late fifties, and played Mercutio as a flirtatious tease.[7] Romeo wears gloves in the balcony scene, and Juliet has a pet fawn.[8] Tybalt is usually portrayed as a hot-headed troublemaker, but Basil Rathbone played him as stuffy and pompous.[9]

Thalberg cast screen actors, rather than stage actors, but shipped-in East Coast drama coaches (such as the acclaimed Frances Robinson Duff to coach Norma Shearer - who had never acted on stage) with the unfortunate consequence that actors previously adored for their naturalism gave what are now considered stilted performances.

Ben-Hur.[10]

Like most Shakespearean filmmakers, Cukor and his screenwriter Talbot Jennings cut much of the original script: playing around 45% of it.[11] Many of these cuts are common ones in the theatre, such as the second appearance of the chorus[12] and the comic scene of Peter with the musicians.[11][13] Others are filmic: designed to replace words with action, or rearranging scenes in order to introduce groups of characters in longer narrative sequences.[11] However, Jennings retains more of Shakespeare's poetry for the young lovers than any of his big-screen successors.[11] Several scenes are interpolated, including three sequences featuring Friar John in Mantua.[11] In contrast, the role of Friar Laurence (an important character in the play) is much reduced.[14] A number of scenes are expanded as opportunities for visual spectacle, including the opening brawl (set against the backdrop of a religious procession), the wedding and Juliet's funeral.[11] The party scene,[15] choreographed by Agnes de Mille, includes Rosaline (an unseen character in Shakespeare's script) who rebuffs Romeo.[11] The role of Peter is enlarged, and played by Andy Devine as a faint-hearted bully. He speaks lines which Shakespeare gave to other Capulet servants, making him the instigator of the opening brawl.[11][16]

Clusters of images are used to define the central characters: Romeo is first sighted leaning against a ruined building in an arcadian scene, complete with a pipe-playing shepherd and his sheepdog; the livelier Juliet is associated with Capulet's formal garden, with its decorative fish pond.[7]

Neither critics nor the public responded enthusiastically, although

Oscar nominations.[8] Subsequent film versions would make use of less experienced, but more photogenic, actors in the central roles.[7] Cukor, interviewed in 1970, said of his film: "It's one picture that if I had to do over again, I'd know how. I'd get the garlic and the Mediterranean into it."[19]

Franco Zeffirelli (1968)

Olivia Hussey as Juliet in the balcony scene of Franco Zeffirelli's 1968 film Romeo and Juliet.
Main article: Romeo and Juliet (1968 film)

Stephen Orgel describes Franco Zeffirelli's 1968 Romeo and Juliet as being "full of beautiful young people, and the camera, and the lush Technicolor, make the most of their sexual energy and good looks."[6] Sarah Munson Deats – referring to recent opposition to the Vietnam War – says that the film was "particularly intended to attract the counter-culture youth, a generation of young people, like Romeo and Juliet, estranged from their parents, torn by the conflict between their youthful cult of passion and the military tradition of their elders."[20] Filming at the time of the "British Invasion", Zeffirelli was able to use an English cast to appeal to American audiences.[21] Zeffirelli said of his film:

The teenagers of the play should be a lot like kids today... They don't want to get involved in their parents' hates and wars. Romeo was a sensitive, naive pacifist, and Juliet was strong, and wise for a fourteen-year-old. That is why I chose inexperienced actors. I don't expect a performance from Olivia or Lenny. I want them to use their own experience to illuminate Shakespeare's characters.[22]

In truth, Zeffirelli's young leads were already experienced actors:

Italia Conti Drama School and had starred opposite Vanessa Redgrave in The Prime of Miss Jean Brodie in the West End.[23]

Zeffirelli filmed his Romeo and Juliet shortly after completing work on his 1967 film The Taming of the Shrew, and had learned from his experience on that project that it was better not to include speeches made redundant by his vivid images.[24] He played around 35% of Shakespeare's script, enhancing the focus on the two central characters and making them more sympathetic, while simplifying their roles to make them less tricky for his young leads to play.[25] He tellingly juxtaposes the betrothal of Juliet and Paris with the Capulets' crumbling marriage.[25] Yet the film is often noted for its zest for life and for love: the former epitomised by John McEnery's Mercutio, the latter by Leonard Whiting's Romeo.[25] In contrast to Renato Castellani's 1954 version, Zeffirelli highlighted Romeo's positive relationships with the Friar, Balthazar and Mercutio. The way in which Mercutio physically collapses onto Romeo after the Queen Mab speech, and again when mortally wounded, has been credited with introducing homosexual overtones into the public perception of their relationship.[25]

Zeffirelli's handling of the duel scene has been particularly praised,

Michael York's Tybalt (often played as a bloodthirsty bully on the stage) by making him shocked and guilty at the lethal wound he has inflicted.[30]

Like most screen directors of the play, Zeffirelli cut the duel with Paris,[31] which helps to keep Romeo sympathetic to the audience.[32]

A particular difficulty for any screenwriter arises towards the end of the fourth act, where Shakespeare's play requires considerable compression to be effective on the big screen, without giving the impression of "cutting to the chase".[33] In Zeffirelli's version, Juliet's return home from the Friar's cell, her submission to her father and the preparation for the wedding are drastically abbreviated, and the tomb scene is also cut short: Paris does not appear at all, and Benvolio (in the Balthazar role) is sent away but is not threatened.[34]

The film courted controversy by including a nude wedding-night scene[35] while Olivia Hussey was only fifteen.[36] Nino Rota's Love Theme from the film, with the original lyrics (which had been drawn from several Shakespeare plays) replaced to become the song "A Time For Us", became a modest international chart hit.[37]

Baz Luhrmann (1996)

Main article: Romeo + Juliet

Australian director Baz Luhrmann's 1996

Veracruz).[40]
Luhrmann said of his film:

Shakespeare's plays touched everyone from the street sweeper to the Queen of England. He was a rambunctious, sexy, violent, entertaining storyteller. We're trying to make this movie rambunctious, sexy, violent and entertaining the way Shakespeare might have if he had been a filmmaker. We have not shied away from clashing low comedy with high tragedy, which is the style of the play, for it is the low comedy that allows you to embrace the very high emotions of the tragedy.[41]

Luhrmann was impressed with the verse-speaking of his Romeo, Leonardo DiCaprio, saying "the words just came out of his mouth as if it was the most natural language possible".[42] Others were less kind: Daniel Rosenthal comments that "DiCaprio's throwaway, sometimes inaudible delivery is, for those not inclined to swoon uncritically at his beauty, the movie's weakest link."[43] Juliet, the sixteen-year-old Claire Danes, was praised for portraying a poise and wisdom beyond her years, and as the first screen Juliet whose speech sounded spontaneous.[44] Miriam Margolyes played the nurse for laughs as a plump Hispanic, forever crying "Hooliet! Hooliet!"[43] Pete Postlethwaite, with his Celtic Cross tattoo, captures the "charming ambiguity" of the Friar.[45] Paul Sorvino and Diane Venora play the Capulets as a boozy gangland patriarch and a miserable southern belle, unhappily married and frequently abusive to each other.[46]

A framing device portrays the events of the play as newscasts and newspaper headlines.[47] The film's action sequences were reminiscent of the films of Sam Peckinpah and John Woo, and its characters wear designer clothes and (in Douglas Brode's words) "a lingerie collection worthy of Madonna".[48] As Peter Travers commented in Rolling Stone, the intention was to "make Romeo and Juliet accessible to the elusive Gen-X audience without leaving the play bowdlerised and broken".[49] Some aspects of the modernisation have been praised as effective (a newscaster speaking the prologue, for example, or the replacement of Friar John with a courier message which gets misdelivered); others have been criticised as ridiculous: including a police chief banishing Romeo for a street killing rather than ordering his arrest.[50] Luhrmann highlighted the religious aspects of the play, surrounding his two central characters with religious icons, and staging his finale in a cathedral. That final scene was regarded by some critics as Luhrmann's masterstroke: adapting a device first used in restoration adaptations of the play,[51] Juliet begins to wake before Romeo takes the poison, but he does not notice her movements until he has done so, then he dies aware that she has survived. The scene uses cuts and extreme close-ups to generate a tension impossible to achieve in the theatre.[52] The mood is undermined a moment later as Juliet blows her brains out with a pistol.[53] The role of the watch is cut completely, permitting Friar Laurence to be with Juliet and to be taken by surprise by her sudden suicide.[54]

The film's prominent use of tracks from popular bands including Radiohead and The Cardigans (and especially prominently Mercutio's wild transvestite dancing to the disco anthem Young Hearts Run Free) led to two hit soundtrack albums.[43]

Mixed reviews greeted the endeavor, including Luhrmann's decision to delete the reconciliation of the feuding families, thus undermining the play's original ending and its lesson concerning the price of peace.[55] Todd McCarthy, in Variety, summed up: "as irritating and glib as some of it may be, there is indisputably a strong vision here that has been worked out in considerable detail."[56] As Zeffirelli's version had done before it, Baz Luhrmann's film broke the record for the highest-grossing Shakespeare film of all time, taking $144m worldwide.[57]

Other performances

Film scholar Douglas Brode claims that Romeo and Juliet is the most-filmed play of all time.

The Hollywood Revue of 1929, in which John Gilbert recited the balcony scene opposite Norma Shearer as Juliet, who would later play the same role in George Cukor's feature version.[60]

Catholicism of Renaissance Verona, and the nature of the feud. Some of Castellani's changes have been criticised as ineffective: interpolated dialogue is often banal, and the Prince's appearances are reimagined as formal hearings: undermining the spontaneity of Benvolio's defence of Romeo's behaviour in the duel scene.[61] The major supporting roles are vastly reduced, including that of the nurse; Mercutio becomes (in the words of Daniel Rosenthal) "the tiniest of cameos" and Friar Laurence "an irritating ditherer",[62] although Pauline Kael, who loved the film, called this Friar Laurence "a radiantly silly little man".[63] Castellani's most prominent changes related to Romeo's character, cutting back or removing scenes involving his parents, Benvolio and Mercutio in order to highlight Romeo's isolation, and inserting a parting scene in which Montague coldly pulls his banished son out of Lady Montague's farewell embrace.[61] Another criticism made by film scholar Patricia Tatspaugh is that the realism of the settings, so carefully established throughout the film, "goes seriously off the rails when it come to the Capulets' vault".[61] Castellani uses competing visual images in relation to the central characters: ominous grilles (and their shadows) contrasted with frequent optimistic shots of blue sky.[38] A well-known stage Romeo, John Gielgud, played Castellani's chorus (and would reprise the role in the 1978 BBC Shakespeare version). Laurence Harvey, as Romeo, was already an experienced screen actor, who would shortly take over roles intended for the late James Dean in Walk on the Wild Side and Summer and Smoke.[64] By contrast, Susan Shentall, as Juliet, was a secretarial student who was discovered by the director in a London pub, and was cast for her "pale sweet skin and honey-blonde hair".[65] She failed to rise to the demands of the role, and would marry shortly after the shoot, never returning to screen acting.[66] Other parts were played by inexperienced actors, also: Mercutio was played by an architect, Montague by a gondolier from Venice, and the Prince by a novelist.[67] Critics responded to the film as a piece of cinema (its visuals were especially admired in Italy, where it was filmed) but not as a performance of Shakespeare's play: Robert Hatch in The Nation said "We had come to see a play... perhaps we should not complain that we were shown a sumptuous travelogue", and Time's reviewer added that "Castellani's Romeo and Juliet is a fine film poem... Unfortunately it is not Shakespeare's poem!"[68]

In 1992,

Efim Gamburg, using cel animation.[69]

The

PBS series Wishbone
aired its fourth episode "Rosie, Oh! Rosie, Oh!" in 1995 featuring the titular Jack Russell terrier as Romeo Montague in a television stage production of Romeo and Juliet.

Adaptations

The name of Romeo and Juliet has become synonymous with young love. Tony Howard concludes that "we inherit so many of our images of romance, generational discord and social hatred from the play that it is impossible to list all its cinematic reincarnations",

Les amants de Vérone and the Czech 1960 Romeo, Juliet a Tma.[71] As a result of this ubiquity, any film about young love and its challenges will court comparison with Romeo and Juliet, as Roseanna McCoy did in 1949, and two James Dean films – East of Eden and Rebel Without a Cause – did in the 1950s.[72]

In 1960, Peter Ustinov's stage parody of Romeo and Juliet, Romanoff and Juliet was filmed – dramatising true love interfering with the cold-war superpowers' attempts to control the fictional state of Concordia.[71]

In 1980 an episode of the anime Astro Boy was based on the Romeo and Juliet story. There were two rival car and robot companies, which racer Robio falls in love with Robiette of the rival company. At the end the two young lovers get smooshed together by both their fathers driving into each other, and after that they two rivals give up the fight, and Astro remarks that now Robio and Robiette will be together forever.

The success of the 1957 stage musical

Oscars, the 1961 film of the show – set among New York gangs – does not aim for a realistic portrayal of New York gang culture: in the opening sequence the Jets and the Sharks trade dance-steps instead of blows.[74] The Jets are a gang of white youths, equivalent to Shakespeare's Montagues; the Sharks, equivalent to the Capulets, are Puerto Rican.[75] Unlike Shakespeare who included relationships between his young lovers and the older generation (the parents, and parent-substitutes such as the Nurse and Friar Laurence) West Side Story keeps its focus firmly on the youth, with only peripheral roles for Doc, the soda-shop owner, and police officers Schrank and Krupke.[76] Tony (played by Richard Beymer, singing dubbed by Jimmy Bryant) is the play's Romeo and Maria (Natalie Wood, dubbed by Marni Nixon) is its Juliet. Maria's fiery brother Bernardo (George Chakiris) combines the Lord Capulet and Tybalt roles.[76] The film's ending has been praised for achieving the tragedy of Shakespeare's play without recourse to magic potions or fateful bad timing.[74]

In 1987

romantic thriller film. Set in 1980s Manhattan, the plot revolves around the intimate relationship developing between Tony, a teenage boy from Little Italy, and Tye, a teenage girl from Chinatown, while both of their older brothers become engrossed in a heated gang war against each other. It also bears some similarities to the 1957 musical West Side Story, which similarly is an adaptation of Romeo and Juliet set among rival ethnic gangs in Manhattan, and also features a male protagonist named Tony.[77]

In 1996, Troma Studios and director Lloyd Kaufman filmed Tromeo and Juliet, a transgressive "trash/punk" adaptation of the play, set in present-day Manhattan and featuring Lemmy (of Motörhead) as its chorus. Sporting the tagline "Body piercing. Kinky sex. Dismemberment. The things that made Shakespeare great.", Tromeo and Juliet premiered at the 1997 Cannes Film Festival and won several awards at independent horror and fantasy film festivals.[78] Despite positive reviews from The New York Times, USA Today, Entertainment Weekly and Variety,[79][80][81] Shakespeare scholar Daniel Rosenthal described Tromeo as "the nadir of screen Shakespeare", calling it a "tedious, appallingly acted feast of mutilation and softcore sex".[82]

Cheah Chee-Kong's 2000 Singaporean film Chicken Rice War (Jiyuan Qiaohe) adapts Romeo and Juliet as a lowbrow romantic comedy set amidst the rivalry between two adjacent rice stalls.[83] The central characters (Fenson Pierre Png and Audrey Lum May Yee) are cast as Romeo and Juliet in a production of Shakespeare's play, staged in a car park, which their families manage to ruin through their rivalry. The comic mood is underpinned by cheerful songs from Tanya Chua.[84] The film won the Discovery Award at the 2001 Toronto International Film Festival.[85]

Lubavitch
Jewish community come into conflict.

In 2005, Romeo and Juliet became a high-profile six-minute

hip-hop take on Romeo and Juliet.[88]

In the 2005 anime

Basilisk the story about two rival ninja
clans fighting each other but one of their members love each other is similar to that of Romeo and Juliet.

The 2007 anime Romeo x Juliet is a fantasy retelling of the famed play. In it, Juliet's family were rulers of a floating island nation called Neo Verona before being killed by the Montagues, forcing her to hide in a theater troupe owned by a fictional version of William Shakespeare.

The play has also inspired two major

Bollywood romantic dramas: Mansoor Khan's Qayamat Se Qayamat Tak (1988) starring Aamir Khan and Juhi Chawla and Sanjay Leela Bhansali's Ram-Leela (2013) starring Ranveer Singh and Deepika Padukone
.

Tanna (2015), the depiction of a Romeo and Juliet-like story based on an actual marriage dispute,[89] is set on the island of Tanna in Vanuatu.[90]

The 2017 TV series Still Star-Crossed includes brief scenes based on the original play but focuses primarily on the families after the deaths of the two main characters. The Spanish TV series La que se avecina parodied a surrealist story of Romeo and Juliet in the episode eight of the season eight.[91][92] Antonio Pagudo portrayed Romeo and Cristina Castaño portrayed Juilet.[93]

The play was also adapted into an experimental independent film, R#J, which presented the story through text messages, photos and videos on mobile phones and social media posts. The film premiered at the 2021 Sundance Film Festival on January 30, 2021.[94]

In 2023, the play was adapted by the Brazilian TV channel SBT as A Infância de Romeu e Julieta (The Childhood of Romeo and Juliet), in the format of a telenovela focused on children presenting a modernized version with Romeo being played by an Afro-Brazilian actor.[95]

An upcoming anime television series based on the manga of the same name, titled Kishuku Gakkō no Juliet (Boarding School Juliet), features the titular characters in a modern day, Japanese high school setting.[96]

Films featuring performances, or composition

Another way in which film-makers and authors use Shakespearean texts is to feature characters who are actors performing those texts, within a wider non-Shakespearean story.

Carry on Teacher (1959) Shakespeare Wallah (1965) and, significantly, Shakespeare in Love (1998).[98]

The 1941 film Playmates features bandleader Kay Kyser and Shakespearean actor John Barrymore playing themselves in a plot which involves Kyser producing an adaptation featuring "swing musician Romeo Smith and opera singer Juliet Jones, with Juliet's father, a devotee of classical music, as obstacle to their romance."[99]

André Cayatte's Les Amants de Vérone (France, 1949) features Georgia (Anouk Aimée), the daughter of the declining Maglia family (roughly the equivalent of Shakespeare's Capulets) who meets her Romeo in working-class Angelo (Serge Reggiani) while working as stand-ins for the actors playing Romeo and Juliet in a film of the play.[100] The film is a melodramatic reworking of the Romeo and Juliet story, centering on the beauty and passion of the protagonists, and ending with their tragic deaths.[101]

The conceit of dramatising Shakespeare writing Romeo and Juliet has been used several times. The oddball 1944 B-movie

Elizabeth I declaring that Shakespeare's play "can show us the very truth and nature of love."[105]

Screen performances

For comprehensive list, see

Romeo and Juliet (films)
.

Films/books inspired by the play

Significant parallels

  • Theatre of Blood features a Shakespearean actor who takes poetic revenge on the critics who denied him recognition, including a fencing scene inspired by Romeo and Juliet.
  • Shakespeare in Love dramatises the writing and first performance of Romeo and Juliet.
  • The Lion King II: Simba's Pride features Simba's daughter, Kiara, in a forbidden romance with Scar's adopted son, Kovu.
  • Butterfly Lovers, a Chinese legend, was made into a cartoon film in 2004, that follows the storyline of Romeo and Juliet.
  • The zombie-romantic comedy film Warm Bodies (2013) and Isaac Marion's 2010 novel on which it is based draw numerous parallels to Romeo and Juliet, from the characters' names, relationships, and professions [R(omeo), Julie(ette), M(arcus/Mercutio), Perry (Paris), and Nora (the nurse)], to the balcony scene, to the to-the-death feud that is ultimately healed by the threat to the star-crossed lovers' lives.

References

All references to Romeo and Juliet, unless otherwise specified, are taken from Gibbons, Brian Romeo and Juliet Arden Shakespeare second series (London, Methuen, 1980,

ISBN 0-416-17850-2
). Under its referencing system, which uses Roman numerals, II.ii.33 means act 2, scene 2, line 33. A zero instead of a scene number refers to the prologue to either of the first two acts.

  1. ISBN 978-0-521-60580-9
    ) p.91
  2. ISBN 0-425-18176-6
    ) p.43
  3. ^ Thalberg, Irving - quoted by Brode, p.44
  4. ^ a b c Brode, p.44
  5. ISBN 0-521-63975-1
    ) p.137
  6. ^ a b c Orgel, p.91
  7. ^ a b c d Tatspaugh, p.138
  8. ^ a b Tatspaugh, p.136
  9. ^ Brode, p.47
  10. ^ Brode, p.45
  11. ^ a b c d e f g h Tatspaugh, p.137
  12. ^ Romeo and Juliet II.0.1-14
  13. ^ Romeo and Juliet IV.v.96-141
  14. ^ Brode, p.46
  15. ^ Romeo and Juliet I.v
  16. ^ Romeo and Juliet I.i
  17. ^ Greene, Graham reviewing George Cukor's 1936 Romeo and Juliet in The Spectator. Extracted from Greene, Graham and Taylor, John Russell (ed.) "The Pleasure Dome. Collected Film Criticism 1935-40" (Oxford, 1980) cited by Jackson, Russell "From Play-Script to Screenplay" in Jackson, Russell (ed.) "The Cambridge Companion to Shakespeare on Film (15-34) at p.21
  18. ^ Brode, p.48
  19. ISBN 978-1-84457-170-3
    ) p.209 (Note that these sources conflict on the date of this interview: Rosenthal says 1971.)
  20. ^ Deats, Sarah Munson (1983), "Zeffirelli's Romeo and Juliet; Shakespeare for the Sixties", Studies in Popular Culture, 6: 62, cited by Tatspaugh, p. 140
  21. ^ Brode, p. 51
  22. ^ Franco Zeffirelli, quoted by Brode, p. 51.
  23. ^ Brode, pp. 51–2; Rosenthal, p. 218.
  24. ^ Brode, p. 52
  25. ^ a b c d Tatspaugh, p. 141
  26. ^ For example, by Anthony West of Vogue and Mollie Panter-Downes of The New Yorker, cited by Brode, pp. 52–53
  27. ^ Romeo and Juliet III.i.1–4.
  28. ^ Anthony West in Vogue, cited by Brode, p.53
  29. ^ Robert Hatch in The Nation, cited by Brode, p.53
  30. ^ Brode, p.53
  31. ^ Romeo and Juliet V.iii.49-73
  32. ^ Brode, pp.54–55
  33. ISBN 0-521-63975-1
    ) p.30
  34. ^ Jackson, p.30
  35. ^ Romeo and Juliet III.v
  36. ^ Rosenthal, p.220
  37. ISBN 978-0-521-60580-9
    ) p.156-7
  38. ^ a b Tatspaugh, p.140
  39. ^ Tatspaugh, p.142
  40. ^ Brode, pp.55–6
  41. ISBN 0-440-22712-7
    ), no page number.
  42. ^ Luhrmann
  43. ^ a b c Rosenthal, p.224
  44. ^ Luhrmann; Rosenthal, p.224
  45. ^ Rosenthal, p.224; Brode, p.57
  46. ^ Brode, p.57
  47. ^ Tatspaugh, p.143
  48. ^ Brode, p.56
  49. ^ Peter Travers' review in Rolling Stone, cited by Brode, p.56
  50. ^ Brode, pp.56–7
  51. ^ Specifically, this derives from Thomas Otway's adaptation set in ancient Rome: The History and Fall of Caius Marius
  52. ^ Brode, pp.57–8
  53. ^ Brode, p.58
  54. ^ Jackson, p.31
  55. ^ Dowling, Crystal Misshapen chaos of well-seeming form: Baz Luhrmann's Romeo + Juliet accessed 23 March 2008
  56. ^ McCarthy, Todd review in Variety, cited by Brode, p.58
  57. ^ Rosenthal, p.225
  58. ^ a b Brode, p.42
  59. ^ Brode, pp.42–43
  60. ^ a b c Brode, p.43
  61. ^ a b c Tatspaugh, p.139
  62. ^ Rosenthal, pp.213–4
  63. ^ "Pauline Kael". Geocities.ws. Retrieved 2022-05-04.
  64. ^ Brode, pp.48–9
  65. ^ Brode, p.51, quoting Renato Castellani.
  66. ^ Brode, p.51, Rosenthal, p.213
  67. ^ Rosenthal, p.214
  68. ^ Brode, pp.50–1
  69. ^ Rosenthal, pp.280–281
  70. ISBN 978-0-521-60580-9
  71. ^ a b Howard, p. 297.
  72. ^ Brode, pp. 58–9
  73. ^ a b Buhler, p. 154
  74. ^ a b Rosenthal, pp. 216–7
  75. ^ Rosenthal, pp.215–6
  76. ^ a b Rosenthal, p. 216.
  77. ISBN 978-0-472-05577-7
    .
  78. ^ Young, Deborah. 'Tromeo Triumphs in Rome' Variety. June 23, 1997.
  79. New York Times
    . February 28, 1997
  80. Amazon.com
    . Retrieved November 24, 2009.
  81. ^ Taylor, J.R. 'Tromeo and Juliet' Entertainment Weekly. June 6, 1997.
  82. ^ Rosenthal, p.221
  83. ^ Rosenthal, p.229
  84. ^ Rosenthal, pp.229–30
  85. ^ Rosenthal, p.230
  86. ISBN 978-0-7486-2351-8) pp.2–7. This source gives the link www.hm.com/uk, which no longer features a playable version of the short film. An image can be seen here [1]
  87. ^ McKernan, p,20
  88. ^ Kehr, Dave (2008-09-05). "November Releases". The New York Times. Retrieved 2008-12-17.
  89. ^ "Australia selects 'Tanna' as foreign-language Oscar contender". SBS. 23 August 2016. Retrieved 23 August 2016.
  90. ^ Lamont Lindstrom (2015-11-04). "Award-winning film Tanna sets Romeo and Juliet in the south Pacific". Theconversation.com. Retrieved 2022-05-04.
  91. ^ "La historia más penosa de Romeo y Julieta". Telecinco (in Spanish). Mediaset España. 2 December 2014. Retrieved 5 February 2019.
  92. ^ "'Una sentencia, un atentado a Shakespeare y una tigresa encerrada'". Telecinco (in Spanish). Mediaset España. 2 December 2014. Retrieved 5 February 2019.
  93. ^ "Javi y Judith, en el papel de Romeo y Julieta". Telecinco (in Spanish). Mediaset España. 2 December 2014. Retrieved 5 February 2019.
  94. ^ "Sundance - FPG". Sundance. Retrieved January 18, 2021.
  95. ^ "'A Infância de Romeu e Julieta': novela do SBT tem galã da Globo e decisão importante sobre casal". www.purepeople.com.br (in Brazilian Portuguese). Retrieved 2022-12-28.
  96. ^ "Kishuku Gakko no Juliet School Romantic Comedy Manga Gets TV anime". Anime News Network. March 14, 2018. Retrieved May 1, 2018.
  97. ISBN 0-85170-486-7
    ) list 45 instances of uses of Hamlet, not including films of the play itself, at pp.45–66. They list 39 such instances for Romeo and Juliet at pp.141–156. The next closest is Othello, with 23 instances, at pp.119–131.
  98. ^ McKernan and Terris, pp.141–156
  99. ISBN 978-0-7456-3297-1
    ) p.24
  100. ^ Rosenthal, p.211
  101. ^ Rosenthal, pp.211–2
  102. ISBN 978-0-521-60580-9
    ) p.96
  103. ^ McKernan and Terris, p.146
  104. ^ a b Howard, p.310.
  105. ^ Howard, p.310; Rosenthal, p.228

Further reading

External links
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