Romeo and Juliet (Paramount Pictures) (1968)

LIFE loved “ROMEO & JULIET”’. “THE MOST SATISFACTORY FILM I'VE SEEN THIS YEAR.”’ 18 Generation Gap in Verona ROMEO AND JULIET | ee Zefhrelli’s Romeo and Juliet is so good that I hate to get trapped by that old question—is it really Shakespeare? But the argument is unavoidable. Mr. Z has kicked over theatrical tradition by using bona fide teen-agers (Leonard Whiting, 17, and Olivia Hussey, 15) as his teen-age lovers and by frequently substituting action for beloved Shakespearean words. The result, after the film’s March opening in London, was a storm of controversy. The British, bless °em, take their Shakespeare seriously. There are still purists among them who say that the Bard should be read only, and never performed: Coleridge is said to have asked that all stage Shakespeare be banned by act of Parliament. It is understandable, therefore, that nine tenths of the British critics hated the movie. I think they’re dead wrong. It is true that Zeffirelli Has compounded his offense by cutting, even eliminating whole scenes, and that his visual approach minimizes the poetry. But his reckless gamble on youth, in bringing two of the most celebrated roles on earth to this most intimate ofmedia, pays off. His opus is not only Shakespeare enough for me; it’s also the most satisfactory film I’ve seen this year. His beautiful young lovers may not have the mastery of classic diction that older matinee idols could have brought to the roles, but they give such a convincing portrait of adolescents bursting with sexual hunger that, for the first time, it seems, we understand all the impetuous, idiotic things that they contrive to consummate their love in a hostile adult world. Observe Juliet reacting rebelliously to the frustrated rage of her father when she refuses to marry Paris and you know Zeffirelli has captured what Shakespeare was trying to say about the generation gap. The scenes may be in ancient palazzi, but, filmed with untheatrical documentary lighting, they seem Iess far removed from us in time. We see with a mild shock of recognition that the old folks represent an existing social order against which hot-blooded, individualistic youth must rebel to make a better world—even on pain of death. Zeffirelli’s 17-year-old Romeo and his buddiés are the idle young men of an affluent Renaissance society CAPTURED BY “ROMEO & JULIET” The film received a review that literally glows with sincere praise, and the millions of readers of LIFE Magazine are now aware of the fact that Life Magazine Sept. 6, 1968 who, in doublets and hose, hang out on the streets of Verona much like the way-out crowd on a college campus today. They are boys, not men— and this gives a curious quality to John McEnery’s excellent Mercutio, for he looks older, perhaps 25, and should have left the gang long ago but really has no place to go. Even the youthfulness of the intense Tybalt (Michael York) adds a new dimension, for we can see how his bullying could give way in a few years to decent qualities of leadership. Romeo’s revenge on Tybalt for the slaying of Mercutio becomes, in Zeffirelli’s hands, five minutes of a spectacular tussle, with hand-held cameras following the sword-and-dagger boys through the hot, dusty streets of Gubbio (an Apennine town north of Rome that served as stand-in for Verona). Ro here is bound to be argument, even in this country, about whether this classic has been changed too much, or, considering the potential of movies, not enough. To me it seems just right. Juliet’s sleeping potion soliloquy, for instance, is eliminated. But this preposterous 42-hour-potion gimmick seems credible here, explained by Milo O’Shea as Friar Laurence. Why? Because the camera reveals so much of Juliet’s fear, as well as the new maturity that makes her resolute, that her later soliloquy is unnecessary. Zefhirelli knows how to make movyies move. He uses his camera with beauty and invention to fill the gaps in the shortened text. The Capulets’ feast. for instance, where the lovers meet, is a dazzling production number. The balcony scene which follows is not a set-piece, but shows us two adolescents so hungry for each other’s kisses that they barely have time for the famous lines, and parting, for them, seems more like torture than “sweet sorrow.” Then there is the culmination of their one night together, staged with such taste that it seems entirely natural when a nude Romeo walks from his marriage bed to see whether it is the lark or the nightingale who sings outside. Let’s concede to Coleridge that the only authentic interpretation of Shakespeare, for the individual at least, is in the reading. But no literate man of 1968 should miss this film. My guess is that once you see it you'll never again picture Romeo and Juliet quite the way you did before. Mr. Rapf is a screenwriter, director, critic and lecturer on the film. by Maurice Rapf REGULAR THEATRE TRAILER TEASER TRAILER Dept.—See coupon on back page.) PARAMOUNT PICTURES presents A BHE FILM . The FRANCO ZEFFIRELLI Production of ROMEO ¢ JULIET TECHNICOLOR” A PARAMOUNT PICTURE N. Y. 10010. PARAMOUNT PICTURES presents FRANCO ZEFFIRELLI Productica of ROMEO A. It’s attention-arresting. Off-the-floor, at eyelevel, this novel hi-rise display is A-1 advertising! B. Budget-priced. Invest a mere $9.95, and attract dozens of additional customers. (Plus $1.50 for the hi-rise extension pole which you can use weekafter-week with other standees you order from us.) C. Convertible Made for two-day use, this floor-towall display is simply adaptable. If floor space is limited or legally restricted, hang it on the wall. 3a. 820.8. 820,82 028,82 828,82 8.888.888.8828 le,8e 28. ele lel ele: “ playdate of “ROMEO & JULIET”. Service—see coupon on back page). MATERIALS CHECK LIST Streamers 15’ long, $21.50 each. Valance: $2.15 per running foot; minimum length 10 feet. 6’ x 3’ red, white and blue fan drapes Production of with gold fringe: Flag Wall Banner 9’ x 12’. Single Faced $80.00. Double Faced $145.00. Badge 50¢ each. Manufactured by National Flag and Display Co., 43 West 21st St., JULIET No ordinary love story.... | indie! Order from your local NATIONAL SCREEN SERVICE (Order from your local branch of National Screen Service) (Order from your local branch of National Screen Service) FREE: COLOR TV TRAILER AND TV SLIDE Available is a FULL SET of TV SPOTS specially created to reflect all the exciting adventure of the film. Also available is a TV SLIDE. (Order from Paramount Pictures Field Advertising & Publicity Dept. See coupon on back page.) FREE: RADIO SPOT ANNOUNCEMENTS Available is a FULL SET of RADIO SPOTS dynamically created for maximum boxoffice sell. (Order from Paramount Pictures Field Advertising & Publicity SET of 12 FULL COLOR STILLS: (Order from your local branch of National Screen Service) COMING PARAMOUNT PICTURES presents ABHE FILM FRANCO ZEFFIRELLI $5.75 apiece. ROMEO & JULIET TECHNICOLOR’ A PARAMOUNT PICTURE oth the deluxe ppp Standee cezezelele2e2e: FREE: Dynamic Full Power Radio Spots These radio spots are especially designed to add fantastic box office appeal to your This radio package contains 60 second, 30 second and 10 second E.T.’s that will add variety and exuberant appeal to your promo campaign and playdate. A 60 second and a 30 second College oriented radio spot is also available. Order FREE from your Paramount Field Adv. and Pub. Dept. “ROMEO & JULIET” Trailer and T.YV. Campaign a Romantic Promotional Must! The theatrical trailer and teaser campaigns are especially created to add fantastic box office appeal to your playdate. (Order from your local branch of National Screen The television package consists of two 60 second, two 20 second and one 10 second spot, all in color. This item is a promotional must in order to insure added impact to your playdate. Also available is a T.V. slide. (Order from Paramount Pictures Field Advertising & Publicity Department—see coupon on back page).