What is interesting here is that the prologue has been translated into Latin and that is what the choir is singing.
The sounds become more important. As Abra reverses their car, the scene is very Cartoon like, with different colours it could be the Batmobile. This is almost a cast list created with pieces of footage found later in the film.
For example, the scenes which take place at night make repeated references to objects associated with darkness, such as the moon, stars, and artificial sources of light, such as lamps and torches, to help create a sense of atmosphere and setting.
When the camera zooms in on the brand of gun Benvolio is carrying the Western style music reappears to add to the tension. Luhrmann then speeds up the scene slightly, for almost a comic effect, this zooms to Abra, whom the camera is looking up to, a sign of his authority in the scene.
There is a sudden change in music when Tybalt kicks Romeo through the arch and the violence starts to get worse. In his feature film, Baz Luhrmann uses the filmic code of costuming to accurately portray Tybalt. Shakespeare incorporated jokes of the time, mentions of royalty, and allusions to historical events in his plays.
When the Capulets seem to be in charge of the scene the non digetic music changes back to Morricone in style.
They could be quite English in heritage. To show the genre of the scene before The Capulets show up Luhrmann uses pastiche. Shakespearean drama, on the other hand, was written to be heard as an auditory experience.
The film uses these graphic images of violence to communicate the setting to the audience. The Capulets are wearing tight, black, formal clothes.
As he twirls the noises and sounds are very Cartoon superhero like as are the movements he as an actor makes, even the non diagetic music has changed slightly and includes a choir. When he takes off his jacket it is almost a religious experience The camera shots also seem to be hand held and give the viewer a sense of realism.
This is enhanced in the film, due to the effect that Juliet is actually dressed like a saint. A mere glance at the film will show anyone with even the slightest knowledge of the play that the two are ferociously different in terms of setting, costume, casting, music, and props.
Leonardo DiCaprio and Claire Danes. It becomes very apparent to the viewers that Tybalt obviously takes care to a large extent of his appearance:Baz Luhrmann’s kaleidoscopic film adaptation of Romeo and Juliet, while often leaving much to be desired from the two main actors in the way of delivery, presents a fascinating modern interpretation of the 16th century drama.
David Ansen, film. Romeo & Juliet Moving Image Analysis. Scene Analyzed: The Opening Sequence of the Baz Luhrmann directed ‘William Shakespeare’s Romeo & Juliet’ () from the Introduction to the end of the Garage scene, or The Prologue.
Critical Essays Analysis of Setting in the Opening Scenes of Luhrmann's Film, Romeo + Juliet Bookmark this page Manage My Reading List To assess Baz Luhrmann's use of setting in his film, Romeo + Juliet, we can begin by contrasting the film with the play as it was originally performed in the 16th-century theatre.
In his rendition of Romeo and Juliet, Baz Luhrmann has represented the characters Tybalt, Juliet, and Mercutio accurately through their costuming.
In his feature film, Baz Luhrmann uses the filmic code of costuming to accurately portray Tybalt. An Analysis of Baz Luhrmann’s Romeo and Juliet Baz Luhrmann’s William Shakespeare’s Romeo and Juliet did not get a warm reception from the literary and film critics of today.
Many feel that he cut out too much of the words which lessened the character development and original connotation that Shakespeare intended. Critical Analysis of the Opening Extract of Baz Luhrmann's Romeo and Juliet Words | 5 Pages.
Critical Analysis of the Opening Extract of Baz Luhrmann's Romeo and Juliet Baz Luhrmann has used the three presentational devices in a specific way in his film 'Romeo and Juliet'.Download