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A tragedy tailored to the spirit of the times – Romeo and Juliet as interpreted by Franco Zeffirelli and Baz Luhrmann

100%
Śliwińska A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2019
|
vol. 26
|
issue 35
219-229
PL
This article discusses two film adaptations of Romeo and Juliet, i.e. one directed by Franco Zeffirelli and the other by Baz Luhrmann. It covers the following aspects: the structure of both the drama and its two film adaptations, the characters’ creation, the choice of setting and screen time, and the function of tragedy. Shakespeare’s language is characterised by unparalleled wit and powers of observation, and the final form of his plays is a clear indication of his ambivalent attitude towards tradition and the rigid structure of the drama. By breaking with convention, favouring an episodic structure, and blending tragedy with comedy, Shakespeare always takes risks, in a similar vain to the two directors who decided to make film adaptations based on his plays. Each technical device the adaptors selected could have turned out to be a wonderful novelty or a total disaster. The strength of both Zeffirelli’s and Luhrman’s adaptations is their emphasis on love and youth, which thanks to their directorial skill is perfectly in tune with the spirit of their respective times.
2

„Tańczenie o obrazie” - o tworzeniu i znaczeniu filmowego obrazu w Moulin Rouge! Baza Luhrmanna

82%
Zbańska M.
Roczniki Humanistyczne
|
2013
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vol. 61
|
issue 4: Historia Sztuki
253-267
EN
This article tries to present the concept of creating, characteristics and meaning of a movie image elements in the Baz Luhrmann’s postmodern musical Moulin Rouge!. The film belongs to the trilogy known as so-called „Red Curtain Cinema” – a term created by Australian director himself. This term defines the stylistics of a movie image and the way the film story is being told, reaching straight to visual methods and esthetical tradition of a stage show. Beside the Moulin Rouge!, which was filmed as the last part of this stylistic triad, Baz Luhrmann incorporates to the „Red Curtain Cinema” also his first two films: Stricly Ballroom and Romeo + Juliet. The article brings up such problems as the provenience of „theatricalized cinematic form”, the method of filming, used types and characteristics of stylistic and visual means of filmic and theatrical language, discussion over meaning of colours, types of light, scenography, shots and scenes with reference to the plot of Moulin Rouge!. The article is based upon the text of Author’s MA thesis about Moulin Rouge! movie.
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