Comment on how Baz Luhrmann uses video Essay

Romeo and Juliet, is a laugher written by William Shakespeargon in the juvenile sixteenth century in fair Verona. This is an ultimate love tale among the unaccompanied children of cardinal functionful enemies , both alike in gravitas These two households bear an ancient grudge. Within this dislike Romeo and Juliets love chamberpot non survive, and they ar driven by this dislike to ending. From this 1595 classic frolic, Baz Luhrmann got the mull everyplace of wielding it in to a twentieth centaury blockbuster.He did this by using umpteen some other(prenominal) diverse techniques, and even though he keeps the original dialogue, he miscellanys many classic features of the play to give this neo feel to it. Such as horses to cars, S quarrel to gasolines and villages to cities ar several examples. As the film starts, the gap crack is of a modern day television. It is turn upn speaking as a newsreader, speaking as a chorus would on stage, grownup back run agro und knowledge to the hearing watching. This television reflects Luhrmanns modern setting, display how the film will be set, rather than the one in which the written play was set.The TV represents the media, as our main source of information. Just as the chorus would be, stood on stage, addressing the auditory sense, giving them required information. The doubtline upon the TV reads , Star-crossed lovers, and above a picture of a ring split in two, wake both the themes of love and hate. How the duet had love largish to marry, though within their families at that place was hate enough to drive the couple to take their lives. Their love was doomed to die, the ring shows how they could not be to stingher as reflected in one of the chorus lines , death marked love. One extremely shortly though effective photographic camera shot, zooms strike down the middle of a main street, with many high raise twists, until focusing upon a large statue of Christ. demonstrate that religio n will play some part within the play/film. present specious striking practice of medicine kicks in. This euphony tells us that the play is going to be in truth almighty and dramatic. The choruss first line appears white upon swarthy, in fair Verona. White and black atomic number 18 usually associated with just and bad. masking two main features of the film. Again the image of Christs type appears, a penny-pinching up camera shot, recoiling to show two large skyscrapers dominating the skyline.Each bearing separate names, Montague and Capulet, showing the large curtain raising between them, they argon unlike. The sheer size of the buildings tells us they are crocked families, further separate. The statue of Christ is stood in the middle, showing again the religious hunting lodge in which the film is set. Still with the dramatic medication playing building up aura, images of law vehicles- cars and helicopters burn across the screen. Quick images. Images of conflict , linking the families with violence and in the end the law. The unison quietens, though smooth strong and menacing, as a vocalize over man speaks the same lines as already spoken by the chorus. Now the images are shown slower, two households both alike in dignity showing the two families, again separated by Jesus, sour looks upon the heads faces hate and malcontent, though smiles upon the childrens happy, contented faces, with no worries. hint on to images of flames, representing hell, hatred and death. Headlines of newspapers flash upon the screen, linking again with the theme of the media and the modern setting. Showing there must be public interest in the ontogeny feud between the two families, and again set off the conflict between the two families.Extremely short images are shown of police helping urbaneians prevail the troubles caused by this abhorrence between the Montagues and the Capulets. The music had died down up until the point of take their life, where it pi cks up again adding atmosphere and letting the audience know there is great tragedy within the film. Another modern technique is then used. Just as characters on television programs are introduced or how western wanted posters are displayed, some of the main characters are initiated. These images build great suspense though shows a building power within the play/film.Two important images from later on in the film flash upon the screen, though they are very insignificant at this point, just adding suspense and wonder at this early stage. The music reaches a peek as the now familiar volumes of the prologue flash upon the screen. The intelligences white on black, suspense, power, the words showing love, lust, hatred and tragedy. Followed by hit-or-miss images shooting across the screen, fireworks, choir boys singing in a loud wild fashion. Guns, characters, light and dark images showing good and horror. Loud bangs of gunshots, police helicopters, short letter, raging images demons trating excitement and apprehension to the audience.Now with the music at a climax, the words in bold print of Romeo + Juliet linger upon the screen. The + in blood red symbolising bloodshed and conflict, it is also shaped like a cross, to incubate the religious theme of the film. The words are white upon black, illustrating good and evil. hither the music changes and a bouncier, to a greater extent funky, modern tune kicks in as the boys come on to the screen. These three wear bright influence shirts- reds and lime greens, indicating good and to me fun. though with the first line spoken you sack up the Montague boys hate the Capulets.The boys are presented whizzing down a highway in an high-priced look yellow convertible, again suggesting warmth and fun. They are cool, with open shirts, brightly coloured hair, shades on heads and tattoos over their bodies. They are excitable, casual and looking for for at them they would not pose any threat. The car has a individualised nu mber plate, Mon-005, Verona beach again showing wealth. The camera shot is at the front of the car as it comes in to the gas station, here there is a thinking(a) of screeching tyres, the piping of horns and basically excitable childish behaviour.Benvolio- Romeos cousin does not come across as uncompromising, he tries to eliminate himself from the quarrel between the two families masters. Where as the other two Montague boys are very eager and want to be involved this is sown in their faces as a face close up is shown. Here Benvolio turns and some other facial close up is shown, his face twisted close to looking in disgust as he turns and walks out. Here the camera turns sorrowful across to another pump as an expensive looking spirited car pulls hushly in to the station.Blue suggesting coldness and the slow facilitate suggests that the driver is not excitable like the Montague boys but serious. The music abruptly changes from hip to a western style tune as another persona lised number plate is shown Cap-005, Verona beach. The camera is swung around with a whooping travel and rests upon a close up of the bottom of the car access opening and a pair of western style cowboy boots stepping from the car. Here the vomit freezes on the boot touching the ground, Cooley and calmly and in this freeze fix he displays the words The Capulet boys with western style music playing to continue the western style theme.The boots walk away through a door the decease of spurs following, tensity building as the camera shot moves again from the western boots to shoes and tights and the giggling of little girls over the western music. spark advance(a) back to more dark cowboy boots with spurs. The shoes belong to a Nun with a class of children and each side of their people carries resides a car of each of the two families. The two families torment the nun and her fellaship in a very cocky sort of manor, exceptionally intimidating. So as the nun and her party spee ds away to escape and torment, the two families are revealed to each other for the first time.The fun and idiocy of the Montagues turns to idolise, as Abra-Capulet is revealed. Here another facial close-up is shown. Abra wears dark menacing influence (oranges, blacks and reds- act upon associated with hell. ) He has a goatee beard an earring and a silver range of mountains with cross hanging around his neck. He has the look of a distinctive gunslinger, someone who could be extremely dangerous. The music is now changed, as a more electric tune plays more menacing and threatening than before, highlighting the danger of this man. Fear is shown in the Montagues faces, shocked by the bearing of a known enemy.This man alarms them and with this abrupt entrance one of the boys fall ins a quick movement to reveal the butt of his pistol. A fast stimulate movement, followed by the facial shot of a frightened face and the big(a) of a reluctant gasp, signifying the fear and tension betw een the two families. Here there is a shot of the face of Abra moving down his automobile trunk and showing the slow movements of his hands to reveal the butt of his own pistol, grave with the word Capulet, just as the Montagues gun was engraved with the word Montague, reflecting wealth yet again.The movements are menacingly slow, so calm and cool. accordingly suddenly a loud hissing sound like a serpent as Abra snarls revealing the word sin engraved on a silver plaque on his teeth. The camera is at a straight close up angle. The shot is both threatening and frightening. Here all the sounds stop as the Montagues sink back in to the car relieved that no harm has come to them. Though the Capulets are amused by the impression they have made upon the Montagues and laugh profusely showing they do not feel peril at all by their presence but take them more as a joke than any thing else.The Montagues took this kink up a little too lightly and decide to make a second move. Here one of t he Montagues bites their thumb at the Capulets. This is shown as a close up with a silly sound coming from the mouth of the offending Montague. Now there is anger and hate starting to show as the montages reverse the car, with the noise of screeching tyres, and the sound of a quick furious sounding, loud blast of music showing anger. The caplets sling loud though slow angry words at the Montages who return fast frightened words trying to calm the situation.Though as the camera shot goes to the toilet door, the quick shocking music picks up again and Benvolio appears-an image of a peace maker leading to a close up of Benvolios gun with a change back to western music. Here with gun drawn, a close up of Benvolios apprehensive face fills the screen and silence falls. Here all the sound of an old creaky sign is heard blowing in the wind, un-nerving Benvolio further and continuing the western theme. The camera swizzles around to an image of a close up cigar existence lit and a get toge ther being dropped to the ground by Tybalt-the prince of cats.Juliets cousin Landing close to his feet, though hushed burning. The music playing slowly and quietly, adding tension and atmosphere. Now there is a major close up of tybalts face. He has the look of the devil, slick black hair with tiny matching beard. He has pointed teeth that lone(prenominal) a close up would enable us to see properly. He wears the colours of the devil, Reds and blacks showing hate, fire, torment and death. Also his face shows no fear, no feelings but pure untamed hate. He is just so slick and calm and as he speaks, there is a close up on his eye.These ooze confidence and hold great hate and rage towards the Montagues. The camera then focuses on Benvolios eyes, which are the complete opposite to Tybalts. His eyes show a great fear of the other man, apprehension. All adding tension to the opening shaft. On a half of proboscis shot, Benvolio is seen putt away his sword (which in this 1997 film s actu ally a gun,) and in an effort tries to avoid conflict by stating I do only to keep the peace put up my sword. His voice shaky in the eerie silence. Then another facial close up on Tybalt, as he says, Peace, peace, I hate the word.As I hate hell. All Montagues. And thee. With no quivers only confidence and raw hate. The burning match is finally stamped out with the sound of the metal healed boots grinding at the concrete ground. This long gap between lighting the match and putting it out shows a great danger. This man means something he solo stands for power and danger. Now a small boy, symbolising innocent bystanders at the market place, interrupts the silence. The boy just playing, shouting bang, bang triggering the attack. Tybalt draws, the music screeching.The shot looking up the barrel of tybalts gun as the word bang is said again. Showing he is willing to harm fellow citizens if need be. Now there is a range of many different camera shots, with electric music playing in the background. Tybalt does a commode of flamenco style movements, flowing, professional movements, as though he was facile and skilled in the art. Very dramatic and serious movements, with no fear of being harmed. The Montagues begin to try to fight back, though not really succeeding. They are frightened you can see it in their eyes.Tybalt moves almost fashionably, where as the Montagues dont really know what to do. They shoot, showing no passion or drive. Unlike Tybalt who shows both. Tybalt is calling the shots, and in a swift movement he throws down his coat and fits an aiming device. Kissing his gun with a loving passion. People are running, frightened. The Montagues flee, leaving Benvolio and Tybalt in the flatulency station. Music still flaring giving added depth to the scene, petrol covering the ground. Tybalt zooms on to one of the fleeing Montagues, taking the shot, and injuring him.The camera looking down the guns barrel as the shot is fired, pointing into Tybalts eyes. Wi th a flickering smile he drops the cigar from his mouth, landing in a pool of petrol and igniting it immediately, which during the whole scene showed how contented he was with conflict. Here Benvolio flees with Tybalt in pursuit. The flames escalate, symbolising the devastation to come. The flames show hate and anger. Every body around is affected by the fleck as symbolised by the flames. Affecting peoples livelihoods, every body is effected by these civil brawls.There is very dramatic music playing now, escalating the feeling of hate and friction between the two families. A poster is shown burning, once stating Montagues and Capulets 2nd civil brawl. This shows that it is over hate has ended that, and born a third brawl, more powerful than the previous ones. A sign is also shown burning, Add more fuel to your fire. Showing that the public are affected, and that hate is the road to all evils, symbolising the devil and hell. The camera follows the flames upwards showing things wi ll get worse, still with the music blasting.It moves up and through the smoke screen, the two houses can be seen dominating the skyline, with the image of Jesus between them. Still looking extravagant and wealthy after the brawl. Nothings really changed. The fire is burning as strong as their hate, causing public panic and confusion. Now short images are shown of police helicopters and vehicles flying between and around the towers and statue. The music still blearing. Shots are shown from alternate angles showing news reporters reporting the third civil brawl, again linking with the media.Ted Montague (the father-head of the house) rushes to the scene in his limo with registration plate being Montague, Verona beach. Again representing wealth and power. Once more fast flickering shots are shown of the fleeing public, panic stricken, confused. Police swarming to the scene in different kinds of vehicles now, and here with the music breaching a climax the shots slow down and return to facial close-ups. Tybalt and Benvolio are screaming at each other hate in their eyes, with no more fear left in Benvolios body only hate.Cars spread upon the road, utter havoc breached by the two feuding enemies. Guns are pointed at the couple from air and ground. They have no choice but to both walk forward and admit defeat, dropping their weapons to the ground. There is no music now just a loud boom as the weapons fall. epinephrin at an ultimate climax for anybody watching. The range of shots along with the series of different sounds and music create an unforgettable opening, showing many of the different themes and aspects of the play/film to anybody watching.