Romeo & Julia (2013)

Romeo u0026 Julia: Directed by Carlo Carlei. With Damian Lewis, Laura Morante, Tomas Arana, Kodi Smit-McPhee. Romeo and Juliet secretly wed despite the sworn contempt their families hold for each other. It is not long, however, before a chain of fateful events changes the lives of both families forever.

“Of all the clever-clever barbs fired at the 2013 u0026quot;Romeo and Julietu0026quot;, u0026quot;Shakespeare for Dummiesu0026quot; has probably given the filmu0026#39;s detractors the most satisfaction. But, as anyone who has read my user reviews of the 1940 u0026quot;Pride and Prejudiceu0026quot; and the 1999 u0026quot;Mansfield Parku0026quot; will quickly realise, I am no purist as far as literary adaptations for cinema are concerned. I suppose therefore I must be something of a dummy, but a dummy who would like to take the floor to confess to finding this recent version of literatureu0026#39;s most famous youth-love-death cocktail rather wonderful. Not that it hasnu0026#39;t been well done before. I havenu0026#39;t seen Castellaniu0026#39;s but Zefirelliu0026#39;s later version was a thoroughly worthy attempt, certainly of a standard to raise a question as to whether further interpretations were needed. I experienced serious unease fuelled by all those truly awful reviews before even the opening credits. Give it half an hour perhaps. Not that it started particularly well. A horseback contest between a Montague and Capulet reminded that we might well be entering u0026quot;Ben Huru0026quot; country with all the boredom of that gargantuan epic. I suppose it was the entry of Douglas Boothu0026#39;s Romeo chipping away at a stone figure of Rosaline, his current love, in an artistu0026#39;s workshop that raised more than a glimmer of interest. Was ever a portrayer of the role more handsome! And this coming from a pretty u0026#39;straightu0026#39; viewer! Just imagine his effect on all those Juliets in the audience! I have to admit to finding him the more engaging partner, hardly matched by a no more than pretty Juliet, who rather gabbles her lines and is, well, little more than average school dramatic society material. By now I am aware that I am hardly writing a review of something of a terrific film, so what makes it so outstanding? It can be summed up in the one word – passion. This version concentrates on the lovers to the exclusion of much else such as the groundings humour of Mercutio here played absolutely seriously as is Lesley Manvilleu0026#39;s pragmatically intelligent Nurse. For once,in Paul Giamettiu0026#39;s outstanding portrayal, we can really feel the tragedy of Friar Lawrenceu0026#39;s ghastly misguided solution to saving the young lovers which serves to drive the action forward to those tragic deaths presented with such moving intensity. It all culminates in a truly great moment when the young Benvolio clasps the dead lovers hands together. Not Shakespeare but nevertheless a masterstroke. As a bonus we are treated to beautifully shot locations. At one point where the lovers depart from one another on a riverbank the image is ravishing. The main quarrel of its detractors seems to be copious liberties with the playwrightu0026#39;s text. There is no question but this is an adaptation in the same way as Kurosawau0026#39;s u0026quot;Throne of Bloodu0026quot; and u0026quot;Ranu0026quot; both of which are reverenced by cineastes yet contain not a line of Shakespeare. Why all the furious reactions to this version? Remembering the derision than was heaped against Powell and Pressburgeru0026#39;s marvellous u0026quot;Gone to Earthu0026quot; when it first appeared in the early 1950u0026#39;s but has now achieved deserved recognition, I put it that Carlou0026#39;s Carleiu0026#39;s u0026quot;Romeo and Julietu0026quot; is possibly a film before its time. Sadly I shall not be around in a few decadeu0026#39;s time to say, u0026quot;I told you so.u0026quot;”