Romeo + Juliet at 30: how Baz Luhrmann made teens fall in love with Shakespeare
The maximalist, heart over head adaptation of the romantic tragedy made stars of its leads and became an English teacher’s most trusted weapon for Bard-averse studentsRomeo + Juliet is not...
By Adrian Horton · The Guardian Culture
The maximalist, heart over head adaptation of the romantic tragedy made stars of its leads and became an English teacher’s most trusted weapon for Bard-averse students Romeo + Juliet is not the most renowned or beloved of Shakespeare’s plays, but it is perhaps the most foundational. The 16th-century tragedy, a story of love-addled teenagers and white-hot resentment, is often an English student’s first introduction to the bard’s oeuvre – more accessible and relatable to teens, with its plaintive lust and histrionic mood swings, than the more austere machinations in, say, Macbeth, Hamlet or Othello. And if Romeo + Juliet is the young person’s entry to Elizabethan English, perhaps no version of it is more worthy of the term “gateway drug” than Baz Luhrmann’s 1996 film version, which reimagined Verona’s family feud as a tropical gang war and launched an army of teenage crushes with the faces of Leonardo DiCaprio and Claire Danes. The maximalist interpretation of Shakespeare’s most lovelorn work, released 30 years ago this week (!), retains Elizabethan verse but announces its divergence from rigid classicism from the jump. Our scene is set in fair Verona beach by a news anchor via TV set, relaying the woe of two star-cross’d lovers before clips of civil strife. Fresh off his breakout success in 1992’s Strictly Ballroom, the Australian director boldly mapped the medieval story on to 90s tabloid fixations – grainy footage of violence in the streets, magazine headlines of capos and criminals, helicopter views of car chases and riots that recalled the media circus around the OJ Simpson chase two years prior. It is a movie that could have only been made in the 90s; Luhrmann’s vision of two warring families as rival gangs, replete with their own economic operations and marked territory, tapped into the era’s preoccupation with gangland as a source of transportive art, from movies to hip-hop, and as a conservative fixation for ideas on intrinsic criminality. Continue reading...