Comparing Shakespeare’s Text with Luhrmann’s 1996 Film Adaptation Act I, Scene 5 Lindy Madrid

1. Comparing Shakespeare’s Text with Luhrmann’s 1996 Film Adaptation Act I, Scene 5 Lindy Madrid

2. The Party Atmosphere With words as his only tools for creating an exciting, energetic atmosphere for this scene, Shakespeare uses stage direction and the introduction of minor characters (servants) to imply hectic energy and lively mood of the party. The servants discuss the difficulties of tending to party guests in a frenzied manner. 1 Servingman “You are looked for and called for , asked / for and sought for, in the great chamber” 4 Servingman “We cannot be here and there too. / Cheerly boys! Be brisk awhile and the longer liver / take all” (I. v. 12-16)

3. The Party Atmosphere Luhrmann’s film adaptation creates an almost manic energy through extreme camera movements, abstract angles, and fast paced editing stylistically similar to the music videos of the MTV generation. Luhrmann overwhelms the viewers senses with brilliant colors, loud music, and fast paced action, appealing to a teenage audience accustomed to being dazzled and shocked by modern media.

4. Masque V Mask A common misconception about this scene is the assumption that the Capulets are throwing a masked ball. Since Romeo and his comrades wear masks, most readers assume that the other guests do, as well. In actuality, their disguises are a reference to the 16th century tradition of maqueing. A masquer was essentially a 16th century party crasher, who showed up to social functions uninvited, and under a veil of anonymity. Masquers would often perform a short play and then stay to enjoy the festivities with their hosts, who welcomed them since only the coolest parties had masquers, and their presence reflected well on the social standing of the host. In this scene, Lord Capulet recalls his youthful days of masqueing. “Nay sit, nay sit, good cousin Capulet, / for you and I are past our dancing days. / How long is’t now since last yourself and I / were in a masque? “ (I. v. 31-34)

5. Masque V Mask Luhrmann ignores the reference to the 16th century fad and instead embraces the notion of a masked ball as an opportunity for characterization. The carefully selected costumes not only contribute to the festive mood and visual appeal of the film, but also reveals insight into each characters’ personality.

6. Masque V Mask Mercutio is the first to be revealed in a white corset and mini-skirt (point to be discussed later in presentation), followed by the “saucy” (I. v. 83) and hot-tempered Tybalt, dressed as a devil. Lord and Lady Capulet are dressed as Cesar and Cleopatra, suggesting a tumultuous romantic relationship focused on power and deception. Romeo and Juliet are dressed (in a somewhat cliched manner) as an angel and knight in shining armor. These hard-to-miss visual clues bring a whole new dimension to the characters that would be impossible to achieve through the written word.

7. Queen Mab & Hallucination Luhrmann begins the scene through the distorted vision of Romeo, while he is under the influence of a mind-altering substance. In an interesting interpretation, Luhrmann chooses to turn the famous “Queen Mab” set piece of the previous scene into a meditation on the effects an illicit drug which Mercutio offers to Romeo. In order to convey Romeo’s disorientated state, Luhrmann’s filming techniques become even more radical and fast-paced, leaving the viewer feeling winded and a bit shocked.

8. Mercutio To the dismay of many critics, Luhrmann’s Mercutio is portrayed as a flamboyant and ostentatious. During the party scene he is showed singing karaoke in drag in an interesting reversal of gender roles.This unconventional portrayal of Mercutio leads viewers to suspect a homosexual relationship between he and Romeo - a radical point that many think is unrelated to Shakespeare’s original take on gender roles and their effect on love and sexuality.

9. The Lovers Meet Luhrmann exhibits restraint in the scene of the lovers’ first meeting that many complain is lacking in the rest of the film. The editing pace during this scene slows dramatically, allowing the viewer to soak in the romantic tension of the moment. While Luhrmann took many liberties with cutting and rearranging dialogue throughout the film, he leaves the beautiful sequence of their sonnet intact.

10. Water as a Symbolic Image Both Luhrmann and Shakespeare utilize the symbol of water to convey ideas of purity throughout the play. In the film, Romeo and Juliet first gaze at each other through a fish tank - a visual metaphor for the barriers that stand between the lovers as well as an indicator of their privacy in this romantic moment. Water also plays a large role in the famed balcony scene as they secretly frolic in a pool. During the party Romeo escapes from his drug induced state by immersing his head in water, emerging transformed and in a peaceful state of being. Shakespeare employs images of baptism and rebirth through water imagery. “Call me but love, and I’ll be new baptis’d” (II. ii. 50) Shakespeare also employs images of the sea as Romeo declares the magnitude of his love. “My bounty is as boundless as the sea, / my love as deep: the more I give to thee / the more I have, for both are infinite.” (II. ii. 133-135)

11. Paris Luhrmann chooses to include Paris is this scene of the film, while he is left out of the text version. Luhrmann portrays him as naïve and idiotic, making him a less than sympathetic character in the eyes of viewers. Audiences can hardly stifle laughter as he awkwardly dances with Juliet and watches a confetti explosion with the amusement and excitement of a child.

12. Music One of the most distinguishing characteristics of Luhrmann’s film adaptation is the soundtrack. The film is filled with rock, rap, and starkly contrasting bits of classical music. During the party scene a drag Mercutio sings Kym Mazelle’s “Young Hearts Run Free” an ironic indicator of the coming events. During the first meeting, Des’ree’s “Kissing You” plays in the background, a soulful love song that calms the mood and intensifies the romance of the moment. All the music selections increase the appeal of this adaptation to a modern, teenage audience.

13. The Revelation The way that Romeo and Juliet’s identities are revealed to each other differs a bit from the text to the movie. In the text, the nurse reveals Juliet’s lineage while commenting on the financial success of the family. However, in the film, Romeo sees Juliet taken to her mother - Lady Capulet. They way that each character reacts to this revelation reveals a great deal about their personalities and Luhrmann stays true to Shakespeare by not altering their lines at this moment. One improvement that the film makes is that by being able to visually represent this moment the drama is heightened. Romeo and Juliet are locked in a stunned stare, as they realize at the same moment that their “only love sprung from [their] only hate” (I. v. 38). Also increasing the dramatic tension of this moment is the rearrangement of Tybalt’s prophetic line - as Romeo is dragged away from the party in disbelief and Juliet resolves to pursue her love to the grave, Tybalt foreshadows the violent end that will befall them all. “I will withdrawl; but this intrusion shall / now seeming sweet, convert to bitter’st gall.” (I. v. 91-92)

14. Modernizing the Feud Luhrmann modernizes the story by turning the ancient feud into a turf war, similar to those seen in gang areas of our modern cities. Swords are replaced with guns, and a new dimension of modern violence is brought to the classic story.

15. Thematic Relevance in Our Modern Society The concepts of senseless violence and battles over pride are not uncommon in our modern age. By presenting these conflicts in a manner that is familiar and recognizable, Luhrmann makes Shakespeare’s classic play more relatable for young adults. Recent news exposes such conflicts all over North America. The following slides contain a story from The Canadian Press detailing the recent outbrake of gang violience plaguing Vancouver.

16. Vancouver police display AK-47, handguns in announcing more gang arrests Mar 6, 2009 VANCOUVER, B.C. — Vancouver police admitted Friday they have an all-out gang war on their hands as they announced the arrests of two alleged gang leaders.Police say the men were arrested as part of a crackdown on a drug turf war that has turned the region into a "battleground" involving more than 100 shootings in recent years.In an apparent effort to demonstrate police effectiveness and placate a howling public fed up with almost daily shootings, police announced the arrests of five people in total, including the two purported leaders.On display at the news conference were an array of handguns, a bullet-proof vest and an AK-47 - all seized in connection with the arrests.While area police forces have previously steered clear of using the term "gang war," Vancouver police Chief Jim Chu made it clear that's what police and the public are up against."As police, we've always been told by media experts to never say or admit that there is a gang war," said Chu. "Well, let's get serious. There is a gang war and it's brutal."It was the third news conference by area police forces this week, as bullets fly and the body count climbs.Five other gang arrests were announced Monday at a joint RCMP-Vancouver news conference. On Wednesday RCMP in Chilliwack announced the arrest of two people for illegally importing ammunition from the United States.On Friday, Chu was joined by Vancouver Mayor Gregor Robertson, days after Robertson told media that the Olympic host city was losing the war on gangs.There have been 29 shooting incidents in the metro Vancouver region since late January. Twelve people have been killed.Although police are reluctant to identify specific gang shootings, the vast majority have all the hallmarks of targeted hits or involve people known to police.

17. Shots have been fired every day since Monday somewhere in Metro Vancouver and the latest was early Friday when nearby residents awoke to the sound of gunfire toward a Surrey drug house. Nobody was killed.Chu and Insp. Mike Porteous, head of Project Rebellion, the police operation that led to the arrests, said the city's southeast sector has been the turf for a vicious battle between what they termed the Sanghera group and the Buttar group, killing each other over profit and territory.Porteous said Udham Singh Sanghera, 58, charged with seven counts including four of unauthorized use of a firearm, is leader of the Sanghera group.Also charged are Gordon Robert Taylor, 42, and Barjinder Singh Sanghera, 31, who face multiple counts including unauthorized possession of a firearm.Tejinder Singh Malli, 24, and Bimal Datt Sharma, 28, who police say are a members of the Buttar group, are each charged with once count of break and enter.Udham Sanghera and Taylor are in custody. Bobby Sanghera, Malli and Sharma have been released under bail conditions, said Porteous.Porteous said Taylor is a lieutenant of Sanghera group while Bobby Sanghera is a "senior member" and they say some of the arrests came with more bloodshed imminent.However, none of the charges announced Friday was related to serious gun crime. Porteous said police ran into unco-operative witnesses and intimidation during their investigation."Our strategy was to intercede before the shootings occurred," he said.Two of the arrests were made Feb. 18; two on Feb. 23; and the other last November.Police spokesman Const. Lindsey Houghton said the arrests were not announced earlier in order to protect the investigation."By announcing them early it may have jeopardized the investigation and the project," she said.Chu said police strategy is to arrest alleged gang members on as many crimes as possible."As long as it gets them off the street and into a jail cell, where innocent members of the public can't be hurt, we'll continue to pursue them this way," Chu said.Porteous said the groups involved in the recent arrests have ties to two notorious gangs in the region - the Red Scorpions and the United Nations gang. - the Canadian Press