Luhrmann’s Modern Day Shakespeare

The 1996 film adaptation of William Shakespeare’s Romeo and Juliet provides viewers with the same theatrical influence as the original play. Baz Luhrmann was able to accomplish this through modern filmmaking techniques and visual imagery. Luhrmann’s adaptation maintains much of the same elements of the original play. However, Luhrmann was able to make it more appealing to modern audiences by integrating modern elements into the film, thus turning Shakespeare’s original love story into a more modern yet controversial, interpretation of the original love story.

In today’s society Shakespeare’s poetic language would leave viewers perplex. Luhrmann is able to keep Shakespeare’s original language by incorporating creative cinematography, editing, and style. Luhrmann recognizes early on that it is imperative to modernize the prologue in order for viewers to fully comprehend the film’s plot; any misperception would leave viewers confused and not emotionally involved. He is able to accomplish this through the use of dialogue, written text, and visual images. In order to reach modern audiences, Luhrmann has to be inventive in his filmmaking techniques; therefore he integrates modern-day media language. By adding news media and displaying selected pieces of text onscreen he is able to intensify the romantic teen tragedy, thus turning Shakespeare’s original play into a distinguishable film for modern audiences.

Luhrmann’s use of visual imagery and symbolism can be seen throughout the film. One place viewers see this is through religious effects and topics. Each character in the adaptation displays some type of religious emblem, which symbolizes their Christian faith. At first sight such emblems appear to be no more than a typical representation of religion. However, Luhrmann uses them as a means to show that while violence, sexuality, and power may seem to overwhelm the film, religion is at its core. Another religious symbol in the adaptation is the Virgin Mary; she is used to represent Juliet’s purity. Her image along with the image of Jesus can be seen on several pieces of bullet proof clothing. This is used as a means to symbolize that their religion will protect them from anything. By exhibiting religion in the film, Luhrmann is able differentiate the evil within the film from the good. Water is another symbol used in the adaptation. There are several scenes in which Luhrmann incorporates water as a means to show the innocence, love and passion of Romeo and Juliet. Luhrmann’s use of visual imagery and symbolism is just one way he is able to conform Shakespeare’s original work for modern audiences.

Luhrmann chooses to modernize the costumes in his adaptation in order to appeal to modern day audiences. He chooses a mix of bold modern colors and contemporary styles for the costumes in his film, rather than the style from the original play’s time period. As a way to illustrate the conflicting beliefs amongst the Montagues and Capulets, Luhrmann elects to style them contrary to one another. For example, the Capulet boy’s attire consists of formal suits and stylish, sleek clothing. While the Montague boys are dressed in beach attire consisting of Hawaiian shirts and board shorts, and are often sporting outrageous colored hair. The characters of the film are dressed as a representation of their rank in society. Authoritative characters are styled in expensive and elegant attire suggesting of their wealth and rank within society. Luhrmann does not stop with simple, bold colors and contemporary style costumes; he goes one step further by including a modern – day drag queen. Mercutio’s extravagant drag queen attire at the Capulet’s ball is an illustration of sexuality within the film. Luhrmann intensifies the visual of sexuality as a means to appeal to a contemporary audience. Luhrmann’s decision to change the style of the costume does not modify the play’s meaning but simply changes the appearance.

Given that actors and actresses do not only bring his or her physical appearance to the film but also their reputations, directors, like Baz Luhrmann, must take the task of choosing their cast carefully. For the leading roles in Romeo + Juliet, Luhrmann invited two young American entertainers, Leonardo DiCaprio and Claire Danes. Luhrmann’s choice to cast both of these upcoming entertainers was deliberate; he wanted entertainers that not only could attraction a contemporary audience, but also one that could make Shakespeare’s poetic language come alive. According to an article written by Angela Keam, Luhrmann selected Claire Danes for the role of Juliet “because of her ability to make contemporary the figure of Juliet”. Luhrmann goes on to say that “Danes has the ability to portray Juliet as an independent, intelligent, feisty and headstrong woman” (Keam #5). Luhrmann was able to use Dane’s natural characteristics to his advantage and reach modern audiences. Like Danes, DiCaprio’s fame was on the rise and Luhrmann used this to his advantage. According to production notes regarding Luhrmann’s decision in casting DiCaprio. He simply stated "I thought that Leonardo was an extraordinary young actor and I thought he'd make a great Romeo. It's important to reveal these eternal characters anew for every generation…I just thought he'd be a perfect Romeo. It was as simple as that" (“Production Notes: Romeo and Juliet”). Luhrmann went on to say "To me the language in Leonardo's mouth is a wonderful thing to hear because the words have resonance. He speaks as if they really are his words and that's something you don't always get in a Shakesperean performance" (“Production Notes: Romeo and Juliet”).

Luhrmann’s adaptation successfully represent the elements of Shakespeare’s original play. By using modern filmmaking techniques and integrating modern elements Luhrmann was able to reach a more contemporary audience. “The fact that Luhrmann not only kept Shakespeare’s themes but made them explode in the faces of a new audience who needs things to explode in their faces to fully understand them, would leave Shakespeare grinning ear to ear that his message is being told yet, solidifying his immortality” (Hren #67).

Works Cited
Baker, Christopher. "The Persistence of the Sacred in Baz Luhrmann's Romeo + Juliet." Journal of Religion and Film 11.2 (2007). Print.
Camilotti, Camila P. "Shakespeare's Romeo and Juliet beyond the Boundaries of Page: An Analysis of Baz Luhrmann’s Romeo + Juliet and its Balcony Scene." Academic Journal of Interdisciplinary Studies 2.4 (2013): 47-53. Web. 17 Apr. 2015. <http://www.mcser.org/journal/index.php/ajis/article/view/105>.
Christopher, David. "The Tragedy of Modern Media in Baz Luhrmann's Romeo + Juliet." Online International Journal of Arts and Humanities 3.6 (2014): 88-90. Web. 17 Apr. 2015.
Downing, Crystal. "Misshapen Chaos of Well-Seeming Form: Baz Luhrmann's Romeo + Juliet." Literature/Film Quarterly 28.2 (2000): 125-131. Rpt. in Shakespearean Criticism. Ed. Michelle Lee. Vol. 145. Detroit: Gale, 2012. Literature Resource Center. Web. 25 Mar. 2015.
Hren, Edward (2009) "Baz Luhrmann's Romeo + Juliet," ESSAI: Vol. 7, Article 23.
Available at: http://dc.cod.edu/essai/vol7/iss1/23
Keam, Angela. “The ‘Shakesteen’ Genre: Claire Danes’s Star-Body, Teen Female Fans, and the Pluralization of Authorship.” Borrowers and Lenders: The Journal of Shakespeare and Appropriation 2.1 (2006): 2-24. Print.
“Production Notes: Romeo and Juliet.” Clairedanes.com. Twentieth Century Fox, 1996. Web. 17 April 2015.
Scott, Lindsey. "Closed In A Dead Man's Tomb": Juliet, Space, And The Body In Franco Zeffirelli's And Baz Luhrmann's Films Of Romeo And Juliet." Literature Film Quarterly 36.2 (2008): 137-146. Academic Search Complete. Web. 25 Mar. 2015.