There were many scenes of the film throughout that actually looked like the era was coming to life. With such a great color palette also brings excellent details that are rather impressive.
TROMEO AND JULIET ASPECT RATIO HOW TO
Fox knows how to really bring timepieces to HD and this is where they succeed in rather well with this film. ‘Romeo & Juliet’ is a rather colorful film that also has a bright presentation. This has to be one of the best looking versions of Romeo & Juliet on Blu-ray considering that this film was shot digitally in HD that I have ever seen in terms of picture quality. The print is presented in 1080p/AVC MPEG-4 with a 2.40:1 aspect ratio. The other actors do well particularly Damian Lewis, Giamatti and Manville and fans of Ed Westwick will likely be curious to see him in a very different role than Chuck Bass. His scene with Friar Lawrence after the fight with Mercutio and Tybalt is one of my favorites. He also adds a charm, sensitivity and charisma to Romeo and holds his own against veterans like Paul Giamatti and Lesley Manville. Douglas Booth fares much better and is comfortable with the language. Hailee doesn’t quite have the command of the language like she did in “True Grit” although credit to her for even trying. If I had one little complaint about this version, it would be that Hailee Steinfeld pales in comparison to Olivia Hussey’s Juliet.
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In fairness to the filmmakers, this is Carlo Carlei and Julian Fellowes’ version of R+J and they have done a lovely job of it, in my opinion. Those looking for a definitive R&J adaptation may be better off renting//buying the 1968 version or going to see the Shakespeare play. So if you are expecting a word-for-word presentation of Shakespeare’s work, then you will be disappointed. If you are a Shakespeare scholar, then please note that the filmmakers had stated from the beginning that they wanted to make a Romeo & Juliet in the classic setting that would appeal to modern audiences. The sets are sumptuous (all of the filming was done in Italy and the Italian landscape and architecture are themselves stars in the film) along with the beautiful costumes. The cast is comprised of both respected veterans (Damian Lewis, Paul Giamatti, Stellan Skarsgard, Lesley Manville) and young, up-and-coming actors (Douglas Booth, Hailee Steinfeld, Christian Cooke, Kodi Smit-McPhee). It is worth noting that the screenplay was penned by British screenwriter Julian Fellowes (Oscar-nominated “Gosford Park,” “The Young Victoria” and that lovely gem of a mini-series “Downton Abbey”). So while I have seen (and love) the 1968 version with Olivia Hussey and Leonard Whiting and enjoyed the modern-day revisionist version by Baz Luhrmann, I found myself also enjoying this new version very much. I am a firm believer that there are many ways to re-tell a story, and whether a story or book may have been adapted before, others come up with their own version that is fresh and different and worth seeing. Filled with lush, enchanting imagery amid its original setting in Verona, Italy, this legendary tale of romance remains timeless and transcendent…and as powerful as ever. Douglas Booth and Academy Awardr Nominee Hailee Steinfeld** lead an extraordinary ensemble cast as Romeo and Juliet, the star-crossed youths who fall for each other in spite of their feuding families. Where the Shakespeare text does appear (in the occasional fragments of verse that are retained or in skeletal lineaments of plot), it is always dislocated and out of joint.William Shakespeare’s epic and searing love story has been revitalized for a whole new generation by Academy Awardr-Winning screenwriter Julian Fellowes* and acclaimed director Carlo Carlei. The disjunction is perhaps emblematic of the relationship between Kaufman’s film and Shakespeare’s play: now you see the Shakespeare, now you don’t (and mostly you don’t, as you sit through scenes of masturbation, body piercing, incest and mutilation). Over the course of the scene, the book shifts in and out of view in the two locations, before finally ending up on the floor, spattered with Capulet’s blood. Some segments of the scene were shot with the Shakespeare volume on Juliet’s dressing table, some with the text on the bed, convenient for Tromeo to take it up as a weapon. Close examination of the episode indicates that the film offers us an odd disjunction, owing to the way in which the individual sequences that make up the scene were filmed. What is interesting here is not so much the role that the text plays in the assault, but rather an odd continuity failure.
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As the father shouts, ‘No, not Shakespeare!’, Tromeo batters him across the head with the Yale text of the playwright’s works.
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In a pivotal scene from Lloyd Kaufman’s Tromeo and Juliet, Tromeo, having just stuffed tampons up Juliet’s father’s nostrils, reaches back to grab a hefty hardback volume from his lover’s bed.