Product Details

• Amazon Sales Rank: #3448 in DVD
• Released on: 2003-02-03
• Rating: Parental Guidance
• Aspect ratio: 1.85:1
• Number of discs: 1
• Formats: Anamorphic, Dubbed, PAL, Widescreen
• Original language: English
• Subtitled in: Danish, Dutch, English, Finnish, French, German, Italian, Norwegian, Portuguese, Spanish, Swedish, Turkish
• Dubbed in: French, German, Italian, Spanish
• Number of discs: 1
• Running time: 132 minutes

Amazon.co.uk Review
Franco Zeffirelli's 1968 adaptation of Shakespeare's Romeo and Juliet was unique in its day for casting kids in the play's pivotal roles of, well, kids. Seventeen-year-old Leonard Whiting and 15-year-old Olivia Hussey play the titular pair, the Bard's star-crossed lovers who defy a running feud between their families in order to be together in love. Typically played on stage and in previous film productions by adult actors, the innocent look and rawness of Whiting and Hussey resonated at the time with a burgeoning youth movement from San Francisco to Prague. The tragic romance at the centre of the story also clicked with anti-authority sentiments, but even without that, Zeffirelli scores points by validating the ideals and passions of strong-willed adolescents. Less successful are scenes requiring the actors to have a fuller grasp of the text, though the best thing going remains the unambiguous duel between Romeo and Tybalt (Michael York). Lavishly photographed by Pasquale de Santis on location in Italy, this Romeo and Juliet brought a different tone and dimension to a story that had become tiresome in reverential presentations. --Tom Keogh

Special Features
1.85 Anamorphic Wide Screen
English
Region 2
Dolby Digital 5.1 English
Dolby Digital 5.1

Synopsis
Shakespeare's classic romance comes to stunning visual life in this modern interpretation.

Customer Reviews

The definitive cinematic Romeo & Juliet
Appropriately enough, Zeffirelli's masterful production had its cinematic debut in the "Summer of Love". It is certainly an authentic reflection of the youthful exuberance and vigour of its era. Yet it also succeeds brilliantly in capturing the colour and atmosphere of the Renaissance in Italy. It was filmed on location in Tuscany and Umbria and many of its scenes are so gorgeous as to seem almost like canvases by Raphael or Titian, magically brought to life. The music is also outstandingly fine and has now achieved a wide level of circulation beyond the film as a quintessential love theme.

Zeffirelli's decision to cast the leads at their correct ages has been controversial. Certainly, Leonard Whiting and Olivia Hussey (who were respectively 17 and 15 during filming) do not give performances of technical theatrical brilliance (for that in a Shakespearian lead, you should see Kenneth Brannagh's Henry V). Nevertheless the leads are utterly charming, convincingly passionate, genuinely moving and wholly credible and I would suggest that these attributes are far more essential than technical mastery in the context of this particular play.

In the supporting roles, which are superbly cast, there are many performances of great theatrical accomplishment. Performances of memorable flare are turned in by Pat Heywood as the nurse, Milo O'Shea as Friar Laurence, John McEnery as Mercutio and Michael York as a surprisingly fearsome Tybalt.

It is the greatest tribute to this film, as I know from personal experience, that it has the power to turn intelligent teenage detractors of the Bard into his keenest advocates.

This is undoubtedly the definitive cinematic version of Shakespeare's second greatest work. Beware of pale imitations!

My favourite film.
Other people have mentioned a lack of 'technical perfection' as a criticism of the acting in this film, which I continue to rate as my favourite of all time. This film is not about technical perfection - it is above such calculated and clinical ideas. The concept of Stanislavski's method and similar such approaches has no place here - this film is about the emotional involvement of two outstanding young actors in the awe inspiring work of Shakespeare. Both are beautiful and Olivia Hussey, in particular, makes wonderfully effective use of her powerful eyes throughout.

Zefirelli's direction is detailed but maintains a sense of humanity rarely afforded big screen interpretations of Shakespeare. The setting of every scene combined with wonderful camera work, creates a tangible sense of atmosphere which even overcomes the monoaural sound and early technicolor pictures. Nino Rota's score is divine and serves the content of the film rather than itself - it binds the plot together, building pathos and portraying the sensuality of the famous star-crossed lovers. Costumes are beautifully designed. Unlike many more modern adaptations, the use of nudity in portraying the sexual attraction between Romeo and Juliet is subtle and all the more effective for it. The film does not try to 'be' modern or groundbreaking but, in it sensitive adaptation of a great story achieves an untouchable quality. This is 2 and a quarter hours of movie perfection which, in my opinion, will never be beaten. Do yourself a favour - buy this instead of the rather brash and garish Baz Luhrman modernisation, and enjoy Shakespeare at its best. Stunning.

Simply stunning Shakespear
Like many people, I first encountered Zeffirelli's masterpiece during a school trip whilst studying the play for 'O' level. The film swept me - and my classmates - off our feet; I recall seeing the entire 1st XV front row crying like babies, and time has blunted neither the charm nor the power of the classic tale's definitive version. The performances coaxed from the appropriately very young cast are amazing: it is impossible not to fall in love with Olivia Hussey's mature performance and other-worldly beauty; not to be moved by Whiting's accessible candour or fail to be stirred by Michael York's firebrand Tybalt.

But it is not just the script and direction that excel. The cinematography is perfect: you can smell Verona; feel the sun on your back and the cobbles beneath your feet and the soundtrack has become a literal classic in its own right. All of this sucks you irresistibly further and further into the inescapable momentum of events. For the student, the pacing and production reveal meaning to Shakespeare's words; even the bardic buff will get new insights into the quintessential exploration of love in its many forms, although purists may feel uncomfortable with the occasional liberty taken with the Uncle Bill's original however necessary for the difference in pacing between stage and screen. Forget Verona beach and guns, this is probably the best screen adaptation of any Shakespeare play…ever.