The non-diegetic music of
, a choral and orchestral piece, clearly influenced by Carl
, assaults and shocks the audience alongside the visual slam-zoomsuccession of images of violence, immediately bringing the audience into the action andpreparing them for an action-packed, violent and fast-paced interpretation of theShakespearean text (Hindle 178).
is in a minor key signature, which, added to thefact that the choir sings on the beat and off the beat in a repetitive descending minorsequence, ominously forebodes the pace for the film. Of the section of
thataccompanies the montage of images in the prologue, it ends with a ritardando and a perfectcadence, portraying that the film will be filled with suspense and action, resulting in adefinite and final negative outcome.In contrast with the fast paced opening seque
nce of Luhrmann’s
Romeo + Juliet
Romeo and Juliet.
In contrast with Luhrmann’s opening, Zeffirelli’s light
-heartedmelody in a major key signature, from the score composed by Nino Rota, to accompany anaerial pan shot of Verona, pictured as an old and misty city, sets the pace for the rest of thefilm (Hindle 172)
. The musical score is important here as the prologue’s final phrases include
a suspended discord, which is then resolved to finish with a perfect cadence, illustrating thetension and suspense that will be presented will resolve in a tragic, but, in a sense, perfectending.
Luhrmann’s portrayal of Romeo contrasts greatly with Zeffirelli’s interpretation. The
musical score, which accompanies the opening shots of Romeo, instantly enables one to
transcend beyond the text and realize that Romeo’s character
has many complex dimensions,some that Luhrmann and Zeffirelli focus on and others that remain simmering in hispersonality. Act One Scene One
, which contains the stage direction “enter Romeo at adistance”
, is remarkably significant in both Luhrmann’s and Zeffirelli’s adaptions, as it
is the first instance of Romeo on screen. The close up of Romeo, with a cigarette in his