In the two filmic portrayals of Shakespeare’s Romeo and Juliet, the directors Baz Luhrmann and Franco Zeffirelli use music and camera angles and movement to accurately depict the ignorance of the character’s newfound love. Both Luhrmann and Zefferelli used music to convey a feeling of urgent ignorance in the balcony scene. Luhrmann accurately depicts the feeling of ignorance in this scene throughout it. He uses fast and lively music whenever Romeo and Juliet are together. The music tempo increases greatly whenever they are talking about getting married. For instance, when Juliet is saying, “Three words, dear Romeo, and good night indeed. / If that thy bent love be honorable, / Thy purpose marriage, send me word tomorrow, / By one that I’ll
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Luhrmann focuses on using eye level angles and a lot of dolly movement. At the beginning of the scene when Romeo is crashing into things, the dolly movement follows him. It continues when he says, “But soft, what light through yonder window breaks? / It is the East, and Juliet is the sun. / Arise, fair sun, and kill the envious moon, / Who is already sick and pale with grief / That thou, her maid, art far more fair than she” (2.2.2-6). The camera movement is the same when both he and Juliet are in the pool. Luhrmann also focuses on the angle of the camera being at eye level. This angle is used a lot in this scene and Luhrmann rarely uses high and low angles. This use of different camera angles and movement clearly represent the ignorance of Romeo and Juliet. The excessive dolly movement helps show the rashness of their future decisions. When the camera is at eye level and zoomed into their faces it helps evoke the feeling that the characters truly think they are in love. Zeffirelli also uses camera angles and motion, but in a different way. Whereas Luhrmann positions the camera at eye level with much dolly movement, Zeffirelli uses much more high and low angles with a more stationary viewpoint when showing the characters. This is especially seen when
Luhrmann focuses on using eye level angles and a lot of dolly movement. At the beginning of the scene when Romeo is crashing into things, the dolly movement follows him. It continues when he says, “But soft, what light through yonder window breaks? / It is the East, and Juliet is the sun. / Arise, fair sun, and kill the envious moon, / Who is already sick and pale with grief / That thou, her maid, art far more fair than she” (2.2.2-6). The camera movement is the same when both he and Juliet are in the pool. Luhrmann also focuses on the angle of the camera being at eye level. This angle is used a lot in this scene and Luhrmann rarely uses high and low angles. This use of different camera angles and movement clearly represent the ignorance of Romeo and Juliet. The excessive dolly movement helps show the rashness of their future decisions. When the camera is at eye level and zoomed into their faces it helps evoke the feeling that the characters truly think they are in love. Zeffirelli also uses camera angles and motion, but in a different way. Whereas Luhrmann positions the camera at eye level with much dolly movement, Zeffirelli uses much more high and low angles with a more stationary viewpoint when showing the characters. This is especially seen when