Baz Luhrmann’s Romeo and Juliet Essay Example for Free

Baz Luhrmann’s Romeo and Juliet Essay Being a virgin viewer of Baz Luhrmann’s Romeo and Juliet, I found myself dissatisfied as I began to see the famous balcony scene reveal itself on the courtyard floor. â€Å"Where is the barrier, the ‘stony limits’ that separates the lovers from each other?† I inquired. How could the most renowned scene of William Shakespeare’s most popular play be missing? I continued to watch in astonishment as the daring scene developed into a masterpiece. Baz Luhrmann and Franco Zeffirelli both achieved unique interpretations of William Shakespeare’s script which accomplish the chief goal of displaying the extremely passionate love between Romeo and Juliet. The movies were made twenty-nine years apart and had many specific and not so obvious differences between them including the setting, script, and camera work that are significant to accomplishing the two director’s diverse objectives for the films. The most noticeable difference found between the balcony scenes of the two movies is the different settings. There actually is a balcony in Luhrmann’s version, but it is much smaller and is only used for a brief instant in the scene. Romeo climbs to the top of the balcony in both versions, but in Luhrmann’s film, to his surprise, he finds an ugly nurse instead of the attractive Juliet. This comedic moment is essential for distracting the audience from their predictions. The Capulet mansions are both astounding and enormous but bestow different emotions. The mansion in Zeffirelli’s Romeo and Juliet is very castle-like with towering stone walls surrounded by trees, and a large balcony. This plain and simple appearance is important because the focus of the scene is on the two young lovers and the stony limits that separate them. Luhrmann’s film has a very luxurious and romantic looking set that captures the viewers’ attention from the start. The scene is more colorful with white sparkling lights, statues, ivy, and most importantly, a brightly lit up blue swimming pool. The water provides a perfect medium for Romeo and Juliet as they confess their love for each other. The water does not on ly serve symbolic importance but provides a modern obstacle between Romeo and Juliet that can be compared to the balcony. Although the viscous water acts as a barrier, the pool scene involves much more contact between the lovers than Zefferelli’s balcony scene. Light piano music fills the air instead of the louder rock music that is found throughout the film. In both versions, Juliet is clothed in all white, portraying her innocence. Zefferelli’s set resembles the setting William Shakespeare describes in his script, while Luhrmann modernizes the setting and translates script to appeal to today’s generations. Shakespeare wrote his plays in a Victorian language that is not especially familiar to most people today. Zefferelli was quite aware of this, but made very few adjustments to the script. His play targets people who already know the story of Romeo and Juliet. Zefferelli takes advantage of the opportunities film offers by using technology to create realism, background music, props, and backgrounds to aid in the comprehension of the balcony scene of this romantic tragedy. On the other hand, Baz Luhrmann cuts the original script from 190 lines to 100 lines. He also adds occasional words to enable a smooth flowing dialogue. He maintains Shakespeare’s Victorian language because of the ingenious poetry and rhythm it has that flows like music to one’s ears. Luhrmann eliminates a lot of the difficult and time-consuming language as well as lines that do not pertain to his modernized setting. For example, lines 70-182 of Act III, Scene II are eliminated, in which Juliet calls Romeo back then forgets why she did so. Luhrmann’s adjustments to the script allow for a more easy translation of Shakespeare’s language. In addition to the changes in the script, the scene can be comprehended strictly by viewing the moving picture due to the careful selection of costumes, the use of body language, the romantic setting, and the camera technique. The camera work during the balcony scene of both films is very strategically planed to give the viewers a much more personal experience than that of the stage. Zeffirelli’s scene makes use of the long balcony as the camera pans along it continuously, not allowing the eyes to rest. This keeps the viewers involved in the film while close ups are used to show the passionate emotions of the lovers. In Baz Luhrmann’s version of the scene, the camera is not as active as one might imagine. The scene begins with long shots and as it develops, the camera moves in to extreme close-ups to show every detail of the lovers’ expressions. The camera gives the viewers an intimate relationship as it moves slowly and more closely to the actors in contrast to the chaotic camera movement in other scenes. The quantity of editing used in Baz Luhrmann’s scene is significantly reduced when compared to the editing in other parts of his film. The editing pace goes from every couple seconds per shot to about twenty seconds per shot. The length of shots in Zeffirelli’s scene is even longer. Also, Zeffirelli’s scene uses slight high-angle shots on Juliet that gives the effect that Juliet is in a more superior position than Romeo. In Luhrmann’s film the lovers remain level with each other throughout most of the scene, giving a sense of equality. Both filming techniques used in the two versions were very effective in creating the close relationship between Romeo and Juliet as they reunite for the second time. The power and passion of love found within the balcony and pool scenes of the different films is one that leaves an everlasting impression in the hearts and minds of the viewers. Although interpreted very differently by two brilliant directors, the scenes both relay Shakespeare’s message. Baz Luhrmann did so in a way that transformed the play from Shakespearian times to the youth of the twentieth century. He used state of the art technology, familiar actors, a modernized setting, and adjustments to the actual script to translate Shakespeare’s play into modern times. On the other hand, Franco Zeffirelli attempted to make his film as much like Shakespeare’s play as possible. He used film to his advantage to provide a closer experience than that of the stage, but few changes to the actual script and setting were made. He wanted to reflect the play to the best of his ability to the screen. Baz Luhrmann’s objective was to bring Shakespeare’s Romeo and Juliet to the homes of people around the world. Both films were successful in achieving their goals, but were very unique because of the differences in the setting, script, and camera work. Works Cited â€Å"Imagery in Luhrmanns Romeo + Juliet.† American Film Institute. 1 Feb. 2005 http://www.fathom.com/course/28701907/session4.html. Marks, Margaret. â€Å"Brand New Old Stuff.† 1 Feb. 2005 . Romeo and Juliet. Dir. Franco Zeffirelli. Perf. Olivia Hussey and Leonard Whiting. Paramount Pictures, 1968. William Shakespeare’s Romeo and Juliet. Dir. Baz Luhrmann. Perf. Leonardo DiCaprio and Claire Danes. Twentieth Century Fox, 1997.

Duality in Fahrenheit 451 :: Fahrenheit 451 Essays

Duality in Fahrenheit 451 Dualities are the most elementary of comparisons, and are the easiest for the mind to comprehend in that total opposites are brought to attention. These opposites subconsciously provide one with a deeper insight of the material and consciously entertain. In Ray Bradbury's Fahrenheit 451, many dualisms are included both within Montag and in the outside world that provide 180 degree flip-side views, giving the book further depth and inner meaning. Within the many layers of Montag lay several opposite sides. For example, Montag is a fireman who burns books for a living but at home, spends time reading novels, poetry, and other written material. Although Montag could be called a hypocrite, he does not enjoy both the reading and the burning at the same time; he goes through a change that causes him to love books. Humans have the power to change and grow from one extreme to another, sometimes for the better and sometimes for the worse. In addition, when Mildred is with Montag, Montag does not have feelings for her but thinks of her as she is killed by the bombs. He possesses both the knowledge that Mildred does not love him and the heart that truly cares, but he knows not how to deal with this. His feelings are oppressed; it takes a major event (the bomb) to jolt them from hibernation. There are many dualisms in the outside world of Fahrenheit 451. For example, Montag receives contrasting lectures from Faber and Beatty on what to do with the books and how to be. Beatty and Faber are like black and white: total opposites no matter how you look at it. This "flip-side of a coin" clearly compares the book burner to the book reader, the hatred to the love, and it also gives the reader the opportunity to "choose" their side. In addition, the fire is used to burn houses and books, to destroy possessions; it also is used by the outcast men to cook their meal, warm themselves, and provide light for them. The fire has, in itself, two conflicting sides which includes destruction and preservation. The fire gives Montag as well as the reader the understanding that one thing can have both good qualities and bad qualities at the same time, and that many powers can be spoiled if used for negative intentions. Duality in Fahrenheit 451 :: Fahrenheit 451 Essays Duality in Fahrenheit 451 Dualities are the most elementary of comparisons, and are the easiest for the mind to comprehend in that total opposites are brought to attention. These opposites subconsciously provide one with a deeper insight of the material and consciously entertain. In Ray Bradbury's Fahrenheit 451, many dualisms are included both within Montag and in the outside world that provide 180 degree flip-side views, giving the book further depth and inner meaning. Within the many layers of Montag lay several opposite sides. For example, Montag is a fireman who burns books for a living but at home, spends time reading novels, poetry, and other written material. Although Montag could be called a hypocrite, he does not enjoy both the reading and the burning at the same time; he goes through a change that causes him to love books. Humans have the power to change and grow from one extreme to another, sometimes for the better and sometimes for the worse. In addition, when Mildred is with Montag, Montag does not have feelings for her but thinks of her as she is killed by the bombs. He possesses both the knowledge that Mildred does not love him and the heart that truly cares, but he knows not how to deal with this. His feelings are oppressed; it takes a major event (the bomb) to jolt them from hibernation. There are many dualisms in the outside world of Fahrenheit 451. For example, Montag receives contrasting lectures from Faber and Beatty on what to do with the books and how to be. Beatty and Faber are like black and white: total opposites no matter how you look at it. This "flip-side of a coin" clearly compares the book burner to the book reader, the hatred to the love, and it also gives the reader the opportunity to "choose" their side. In addition, the fire is used to burn houses and books, to destroy possessions; it also is used by the outcast men to cook their meal, warm themselves, and provide light for them. The fire has, in itself, two conflicting sides which includes destruction and preservation. The fire gives Montag as well as the reader the understanding that one thing can have both good qualities and bad qualities at the same time, and that many powers can be spoiled if used for negative intentions.

Othello is incharge of his own downfall Essay

Othello, much like any other human being, is in charge of his own destiny. Despite the fact that his fatal flaw, which is his incapability to resist accusations or statements which are not in his favour, that of which leads to the Moor’s downfall, Othello, much like any other human being, has a choice – he, unfortunately chooses to believe anything and everything Iago places before him. Desdemona is nothing short of loyal to the Moor. She, even though is wrongly accused, is nothing less than a â€Å"true and loyal wife† to Othello. The genuine and passionate love she has for the Moor is so overwhelming that it leads her to disobey her father Brabantio in order to be with her â€Å"husband† which which she sees as her mother who â€Å"so much duty showed to [Brabantio] so [she] is due to the Moor.† The same amount of passionate love is felt for her by her â€Å"Valiant† spouse, Othello. However, Othello’s passionate love he has for his â€Å"white ewe† quickly turns in passionate hatred after having the seed of jealousy planted in him by â€Å"Honest Iago.† Although Iago is the initiator of Othello’s downfall, he is merely removing the â€Å"Valiant† facade the â€Å"Brave Othello† portrays which thus reveals his cannibalistic nature. The green-eyed â€Å"monster†, which was hidden behind the facade of a man who is of a â€Å"free and honest nature,† is revealed nearing the climax of the tragic play. Othello, by choice, now adapts to the cannibalistic and jealous nature which is inflicted by the Machiavellian character, Iago. â€Å"The Moor already changes with [Iago’s] poison.† Othello allows the vine of jealousy to overthrow him which results in his murderous killing of his â€Å"true and loyal wife,† Desdemona. During the revelation of his monstrous act, Othello cries out â€Å"O fool, fool, fool!† – this is indicative of his realization of his own cannibalistic actions which led to him creating a monstrous act, that of which is the murder of Desdemona. He, himself allowed his naivety and jealous emotions to take over him which leads to him killing his fair â€Å"maiden†, Desdemona, that of which he realizes was â€Å"a murder which [he] thought a sacrifice.† As a punishment for his monstrous actions, Othello kills, not Iago, but himself, The choice to kill himself rather than to seek revenge on Iago is indicative of his realization that the matter of his downfall and the death of his wife was because of his own doings – by making the choice to believe the Machiavellian that is Iago. The Moor than proclaims that he â€Å"loved not wisely but too well.† – This statement is indeed indicative of him making the wrong choice to allow his emotions overthrow him which utterly leads to his downfall.

Compare and Contrast Oranges by Gary Soto and Oranges by Ronald Wallace Free Essay Example, 1000 words

One can notice the alacrity of the fishermen and the progression of day. ‘The sun ripens in the sky. The wind turns thin and citrus, The day precise, fragile. ’(Wallace, 116) Both the poems are about a sojourn- a lover makes for his girlfriend. Soto has described the outer journey of two souls in love. The two poems are different in a way because Soto’s poem is about a first time love; while that of Wallace is mature love, which culminates in sex. Soto’s sojourn is longer than Wallace and it takes place in two segments: first, he goes to his girl friend’s house; then takes her out to buy chocolate; and then they further walk two blocks while she eats chocolate and he peels his orange. He is constantly aware of the passion and desire of love raging in his heart. ‘Someone might have thought I was making a fire with my hands. ’(Soto, 74) The setting of both the poems is different. Though both are written against the backdrop of a very cold season; Wallace’s poem is set around a lake, while that of Soto’s poem revolves around a residential area with a drug store, parking lot, line of planted trees, and roads. Soto narrates his perspective by using a lot of body language of the characters and observation of the poet himself. We will write a custom essay sample on Compare and Contrast Oranges by Gary Soto and Oranges by Ronald Wallace or any topic specifically for you Only $17.96 $11.86/page