1. Romeo And Juliet 1968 Full Movie 123movies

Watch Romeo and Juliet (1968) Online Free Full Movie Putlocker - PutlockerFree.name - gomovies 123movies Free. When two young members of feuding families meet, forbidden love ensues. Download ' Romeo and Juliet (1968) 'in HD Quality. Some hosts have deceptive ads. Look for a small X above the ad to close it, and begin watching. Romeo and Juliet is a play about teen lust, but the teenageness of it tends to be forgotten too often (it's mostly for this reason that the notorious nudity seems appropriate to me, rather than merely prurient: Romeo and Juliet is a horny play); Zeffirelli's film, and particularly his casting of actual teenagers, helps to snap that back in.

Romeo and Juliet (1968) is Florentine director Franco Zeffirelli's beautiful modern interpretation of Shakespeare's enduring, classic yet tragic love story of 'star-crossed lovers.' Filmed on location in Italy, it was the most commercially successful Shakespeare film and its most entertaining, refreshing and natural rendition - a passionate celebration of young love.

The film won four Academy Award nominations for Best Picture, Director, Cinematography (Pasqualino De Santis), and Costume Design (Danilo Donati), winning two Oscars - Best Cinematography and Costume Design. Nino Rota's evocative musical score, including a period ballad 'What is a Youth' (with lyrics by Eugene Walter) was un-nominated.

The earlier 1936 MGM, George Cukor-directed version of the film Romeo and Juliet (1936) with Leslie Howard and Norma Shearer, or Renato Castellani's 1954 British-Italian version Romeo and Juliet (1954, It./UK) (with Laurence Harvey and Susan Shentall as the lovers) cast much older, more mature lovers in the starring roles. Another was Paul Czinner's balletic version of Romeo and Juliet (1966, UK) with Rudolf Nureyev and Margot Fonteyn. The story was refashioned in director Robert Wise's and Jerome Robbins' West Side Story (1961) as a tragic tale of conflict between two warring rival NYC gangs, with Richard Beymer and Natalie Wood. The Shakespearean tale was recently remodeled with a radical, MTV-style and rock soundtrack in Baz Luhrmann's unconventional William Shakespeare's Romeo + Juliet (1996), starring Leonardo DiCaprio and Claire Danes as the young lovers in a late 20th century setting.

With brilliant forethought, Zeffirelli gambled by filling the two starring lead roles with two young unknown and fresh-faced teenage actors: 15-year old Olivia Hussey as the stunningly beautiful, dark-haired Juliet (just a few years older than Shakespeare's Juliet - a 'fortnight and odd days' from 14), and 17-year old, slender and blue-eyed Leonard Whiting as Romeo. It retained the exciting feuding scenes between hot-headed members of the opposing families, the ineffectual but well-intentioned Friar Laurence, Juliet's bawdy Nurse, and the double-suicide of the youths. Laurence Olivier served as the uncredited off-screen narrator.

Although much of Shakespeare's dialogue was cut for the film (including much of Juliet's potion speech in Act IV, Scene 3, and the death of Paris in Act V, Scene 3) and some of the renditions were garbled, it appealed to the youthful, counter-cultural generation of the late 60s with its realism, the passion of the lovers, the brief nudity of the couple on their wedding night (morning), and its contemporary feel. The film's reinterpreted modern message, coupled with youthful, idealistic, yet strong-willed and rebellious heroes heralding dreams of peace, love, and freedom, have made the two lead characters representative, anti-establishment icons.

The opening prologue sets the scene, outlines the action of the play and the ongoing, bloody feud which has broken out between two important families in Renaissance Verona, the poignant premonition that 'star-crossed lovers' [Romeo - son of the Montague family, and Juliet - daughter of the Capulet family] will die by the tragedy's end, and the reconciliation of the two bitter, warring families.

Prologue:

Two households both alike in dignity,
In fair Verona where we lay our scene,
From ancient grudge break to new mutiny.
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes,
A pair of star-crossed lovers take their life;
Whose misadventured piteous overthrows
Do with their death bury their parents' strife.

Act I, Scene 1:

In the city of Verona, Gregory (Richard Warwick) and Sampson (Dyson Lovell), two House of Capulet servants with red, yellow and white costumes, walk in the marketplace - armed. There, they see Abraham (Ugo Barbone), servant to the senior Montague, and Balthazar (Keith Skinner), servant to Romeo Montague. As the Montague servants pass, Sampson bites his thumb, and spits. After a short period of jokes, deliberate antagonist talk and ribald humor, the Capulet servants spoil for and provoke a fight. The two sides begin to scuffle with drawn swords. Shouts and cries of 'Capulet!' are heard as they fight. Benvolio (Bruce Robinson), nephew to Montague and friend to Romeo, enters and tries to stop the fight: 'Put up your swords. You know not what you do. The Prince hath expressly forbid this bandying in Verona streets.' An impetuous, rash, and furious Tybalt (Michael York), Lady Capulet's fiery nephew, arrives with his kinsmen, ready to brawl with Benvolio whose sword is unsheathed: 'What, drawn, and talk of peace? I hate the word, as I hate hell, all Montagues and thee.' Tybalt lunges at Benvolio, slashing his eye, and the feud is fueled again. Other Capulets and Montagues are summoned to the fighting by the ringing of church bells.

The arrival of the governor or Prince of Verona (Robert Stephens) and his men is signalled by a fanfare of trumpets. He scolds both families for disturbing the peace of the town three times. The penalty for further fights and violations of the peace shall be death:

Rebellious subjects, enemies to peace, throw your mistempered weapons to the ground..And hear the sentence of your moved Prince. Three civil brawls bred of an airy word, by thee old Capulet, and Montague have thrice disturbed the quiet of our streets. If you ever disturb our streets again, your lives shall pay the forfeit of the peace. For this time all the rest depart away. You, Capulet, shall go along with me. And Montague, come you this afternoon. Once more, on pain of death, all men depart.

As the crowd disperses in the aftermath of the brawl, Lady Montague (Esmeralda Ruspoli) bandages the hand of one of her kinsmen. She asks for information about the whereabouts of her son Romeo, whom she has not seen. Benvolio describes how he saw Lady Montague's sad, love-sick son walking before dawn by himself underneath the grove of sycamore. [In the early part of the film, his unrequited love for Rosaline is not made obvious.] After a solitary Romeo (Leonard Whiting) appears, he notices wounded men being carried about:

God's me, what fray was here? Yet tell me not for I have heard it all. Here's much to do with hate and more with love.

Act I, Scene 2:

The Capulet hall is being prepared for festivities, as Lord Capulet (Paul Hardwick) returns from speaking to the Prince about the recently imposed sanctions on his family for feuding: '..but Montague is bound as well as I, in penalty alike, and 'tis not hard, I think, for men as old as we to keep the peace.' Count Paris (Roberto Bisacco) agrees with him that it should be easy to uphold the peace, but is more interested in his own 'suit' - his desire to wed Juliet, Capulet's almost 14 year old daughter whom he is courting. Juliet's doting, indulgent father maintains that she is still too young to marry, and Paris is urged to wait two more years until she will be 'ripe to be a bride':

But saying o'er what I have said before, My child is yet a stranger in the world. She hath not seen the change of fourteen years. Let two more summers wither in their pride, 'ere we may think her ripe to be a bride.

Although Paris argues: 'Younger than she, are happy mothers made.' Capulet suggests that if Paris can win Juliet's consent and heart, Capulet will not oppose their marriage: 'The earth hath swallowed all my hopes but she. She is the hopeful lady of my earth. But woo her, gentle Paris, get her heart, my will to her consent is but a part.' Paris is invited to a party ('an old accustomed feast') to be held that evening.

Act I, Scene 3:

In Lady Capulet's (Natasha Parry) chamber, she asks for her talkative, vigorous, and grossly humorous old Nurse (Pat Heywood) to call Juliet, her daughter. The Nurse swears by the purity she had when she was a twelve-year old that she has called Juliet, but the girl hasn't responded: 'Now, by my maidenhead at twelve years old, I bade her come. Where is the girl, Juliet..Juliet! Where is the girl? Juliet!' The camera zooms in the courtyard to a window where Juliet (Olivia Hussey) obediently responds and is framed: 'How now, who calls?' In her mother's presence, after a long reminiscence about how long she has known Juliet and the family, the Nurse wishes that she will live long enough to see Juliet marry: 'God mark thee to His grace thou wast the prettiest babe that 'er I nurs'd. And I might live to see thee married once, I have my wish.' Since that is the topic which Lady Capulet wishes to broach, she urges her shy, sweet, and innocent daughter to consider marrying potential husband Paris - who will be present at the evening's party:

Lady Capulet: How stands your disposition to be married?
Juliet: (humbled) It is an honor that I dream not of.
Nurse: An honor, were I not thyne only Nurse, I would say that hadst sucked wisdom from thy teat.
Lady Capulet: Well, think of marriage now, younger than you, here in Verona, ladies of esteem, are made already mothers. By my count I was your mother much upon these years that you are now a maid.
Nurse: Oh yes, I remember..
Lady Capulet: ..thus then, in brief, the valiant Paris seeks you for his love..What say you? Can you love the gentleman?..Speak briefly, can you like of Paris' love?
Juliet: I'll look to like, if looking liking move. But no more deep will I endart mine eye, than your consent gives strength to make it fly.

Act I, Scene 4:

A group of torchbearers and playful masked entertainers/gatecrashers, along with Romeo, Mercutio (John McEnery) (a relative of the Prince), and Benvolio, make their way toward Lord Capulet's party in disguise. Romeo asks what excuse (or 'apology') they should give for their entrance, and Benvolio replies that they don't need one: 'Let them measure us by what they will. We'll measure them a measure and be gone. Come, knock and enter, and no sooner in, but every man betake him to his legs.' After Romeo mentions a sleeping dream that he had, Mercutio delivers his fanciful, imaginative Queen Mab speech about 'the fairies' midwife,' who knows about the waking and sleeping, troubling dreams of men. She is no bigger than a figure carved in an agate ring stone. And she is drawn by tiny creatures in a cart made from various parts - long spinners' legs, grasshopper wings, spider's webs, and watery beams of moonshine - they pull her across the bridges of sleeping men's noses. When she rides 'through lovers' brains,' they dream of love. Whomever she visits, they dream of their greatest desires. If she rides over ladies' lips, they dream of kisses. But she also can be angry and mischievious, causing soldiers to be startled awake in the midst of real battle - 'sometimes she driveth o'er a soldier's neck and then dreams he of cutting foreign throats, of breaches, ambuscadoes, Spanish blades, drums in his ear, at which he starts and wakes; and being thus frighted, swears a prayer or two, and sleeps again.' Queen Mab can put knots in horses' manes - a foreboding omen. 'The hag' has also taught women to bear the weight of men - and children. When Romeo accuses Mercutio: 'Thou talk'st of nothing,' he assents that he feels a hollowness in his own brain:

True, I talk of dreams; which are the children of an idle brain, begot of nothing but vain fantasy; which is as thin of substance as the air, and more inconstant than the wind who woos even now the frozen bosom of the north, and being angered puffs away from thence, turning his side to the dew-dropping south.

Revellers and Benvolio remind everyone that they will be late to the party. As he dons his mask and pauses before proceeding to the party, Romeo adds a premonition of real evil that he senses may occur, something that may end in his 'untimely death,' (a reference to the future meeting with Juliet at the party, their 'star-crossed love,' and their subsequent deaths):

I fear, too early, for my mind misgives some consequence, yet hanging in the stars, shall bitterly begin his fearful date with this night's revels, and expire the term of a despised life closed in my breast, by some vile forfeit of untimely death. But He that hath the steerage of my course direct my sail.

Act I, Scene 5:

As a jovial host, Lord Capulet meets and welcomes the entering guests and the masked Montagues. He fondly remembers the times ('tis gone') when he came to masked dances and courted fair ladies with 'a whispering tale.' Romeo lifts his mask and watches the dancers. During a marvelously-choreographed sequence of dance, he is immediately startled, entranced, and smitten by the lady Juliet engaged in a hand dance, poetically and rapturously praising her as white and pure among darker objects - as a jewel in the ear of a black Ethiopian, or a snowy dove among black crows:

Oh, she doth teach the torches to burn bright. It seems she hangs upon the cheek of night. As a rich jewel in an Ethiop's ear; beauty too rich for use, for earth too dear. So shows a snowy dove trooping with crows, as yonder lady o'er her fellows shows. Did my heart love till now? Forswear it sight, for I ne'er saw true beauty till this night.

Tybalt overhears Romeo's voice and suspects that the young man is a Montague who has come to 'scorn at our solemnity' during the Capulet feast - he reacts with ill-temper and anger. A genial and indulgent Lord Capulet dismisses the uninvited guest Romeo as 'a virtuous and well-managed youth.' He restrains and cautions Tybalt ('a saucy boy') to 'take no note of him' in his house - and he rebukes him ('He shall be endured!'). Tybalt fumes and is prepared to fight. Romeo responds to Lady Capulet's call for 'the moureska!' A young boy named Leonardo sings 'What Is A Youth':

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What is a youth? Impetuous fire.
What is a maid? Ice and desire.
The world wags on.

A rose will bloom
It then will fade
So does a youth.
So do-o-o-oes the fairest maid.

Comes a time when one sweet smile
Has its season for a while..Then love's in love with me.
Some they think only to marry, Others will tease and tarry,
Mine is the very best parry. Cupid he rules us all.
Caper the cape, but sing me the song,
Death will come soon to hush us along.
Sweeter than honey and bitter as gall.
Love is a task and it never will pall.
Sweeter than honey..and bitter as gall
Cupid he rules us all.

After circling around the perimeter of the crowd during the song, Romeo takes Juliet by the hand from the opposite side of a pillar, and speaks his first words to her alone - to tell her of his passion. She responds in equal measure as they sensually press their hands together in a famous scene. With metaphoric, religious imagery, they speak of a holy shrine, pilgrims, devotion, saints, prayer, faith, and sin - terms that bespeak the sacramental nature of their passionate love:

Romeo And Juliet 1968 Full Movie 123movies

Romeo: If I profane with my unworthiest hand this holy shrine, the gentle sin is this: my lips, two blushing pilgrims, ready stand to smooth the rough touch with a gentle kiss. (He attempts to kiss her hand)
Juliet: Good pilgrim, you do wrong your hand too much, which mannerly devotion shows in this; for saints have hands that pilgrims' hands do touch, and palm to palm is holy palmers' kiss. (They place their palms together)
Romeo: Have not saints lips, and holy palmers too?
Juliet: Ay, pilgrim, lips are things to use in prayer. (She demurely turns away)
Romeo: Oh..O then, dear saint, let lips do what hands do; they pray, grant thou, lest faith turn to despair. (They interlock their hands)
Juliet: Saints do not move, though grant for prayers' sake.
Romeo: Then move not, while my prayer's effect I take. Thus from my lips by thine, my sin is purged. (They kiss)
Juliet: Then have my lips the sin that they have took?
Romeo: Sin from my lips! O trespass sweetly urged! Give me my sin again. (They kiss again and Juliet sighs)

When Juliet's Nurse calls her away to her mother, Romeo asks the Nurse to identify the young girl he loves, and learns that Juliet is of the rich house of Capulet ('..he that shall lay hold of her shall have the chinks.') It is a harsh, burdening blow to hear that she is the daughter of his family's leading enemy - Romeo realizes the grave nature of his love and the indebtedness of his life: 'O, dear account! My life is my foe's debt.' As the guests leave, Juliet asks her Nurse to inquire about her newfound love. After speaking to Tybalt, she returns with the disheartening news that Romeo is 'of the House of Montague.' Juliet despairs, stricken by the ironic fact that she is in love with the only son of her family's greatest enemy:

My only love sprung from my only hate, too early seen unknown, and known too late! Oh! Prodigious birth of love it is to me that I must love a loathed enemy.

Romeo and Juliet is a 1968 British-Italian romantictragedy film based on the play of the same name by William Shakespeare.

The film was directed and co-written by Franco Zeffirelli, and stars Leonard Whiting and Olivia Hussey. It won Academy Awards for Best Cinematography (Pasqualino De Santis) and Best Costume Design (Danilo Donati); it was also nominated for Best Director and Best Picture, making it the last Shakespearean film to be nominated for Best Picture to date. Sir Laurence Olivier spoke the film's prologue and epilogue and reportedly dubbed the voice of the Italian actor playing Lord Montague, but was not credited in the film.

The most financially successful film adaptation of a Shakespeare play at the time of its release, it was popular among teenagers partly because it was the first film to use actors who were close to the age of the characters from the original play. Several critics also welcomed the film enthusiastically.^[3][4]

• 3Production
• 4Reception

Plot[edit]

One summer morning in Verona, Veneto, a longstanding feud between the Montague and the Capulet clans breaks out in a street brawl. The brawl is broken up by the Prince, who warns both families that any future violence between them will result in harsh consequences. That night, two teenagers of the two families — Romeo and Juliet — meet at a Capulet masked ball and become deeply infatuated. Later, Romeo stumbles into the secluded garden under Juliet's bedroom balcony and the two exchange impassioned pledges. They are secretly married the next day by Romeo's confessor and father figure, Friar Laurence, with the assistance of Juliet's nurse.

That afternoon, Juliet's first cousin Tybalt, furious that Romeo had attended his family's ball, insults him and challenges him to a brawl. Romeo regards Tybalt as family and he refuses to fight him, which leads Romeo's best friend, Mercutio, to fight Tybalt instead. Despite Romeo's efforts to stop the fight, Tybalt badly wounds Mercutio, who curses both the Montague and Capulet houses before dying. Enraged over his friend's death, Romeo retaliates by fighting Tybalt and killing him. Romeo is subsequently punished by the Prince with banishment from Verona, with the threat of death if he ever returns. Romeo, however, sees his banishment as worse than the death penalty, as Verona is the only home he has known and he does not want to be separated from Juliet. Friar Laurence eventually convinces Romeo that he is very lucky and that he should be more thankful for what he has. Romeo then secretly spends his wedding night together with Juliet and the couple consummate their marriage before Romeo flees.

Juliet's father and mother, unaware of their daughter's secret marriage, have arranged for Juliet to marry wealthy Count Paris. Juliet pleads with her parents to postpone the marriage, but they refuse and threaten to disown her. Juliet seeks out Friar Laurence for help, hoping to escape her arranged marriage to Paris and remain faithful to Romeo. At Friar Laurence's behest, she reconciles with her parents and agrees to their wishes. On the night before the wedding, Juliet consumes a potion prepared by Friar Laurence intended to make her appear dead for forty-two hours. Friar Laurence plans to inform Romeo of the hoax so that Romeo can meet Juliet after her burial and escape with her when she recovers from her swoon, so he sends Friar John to give Romeo a letter describing the plan.

However, when Balthasar, Romeo's servant, sees Juliet being buried under the impression that she is dead, he goes to tell Romeo and reaches him before Friar John. In despair, Romeo goes to Juliet's tomb and kills himself by drinking poison. Soon afterwards, Friar Laurence arrives as Juliet awakens. Despite his attempts to persuade her to flee from the crypt, Juliet refuses to leave Romeo, and once the Friar flees, kills herself by piercing her abdomen with his dagger. Later, the two families attend their joint funeral and are chastised by the Prince.

Cast[edit]

• Leonard Whiting as Romeo Montague
• Olivia Hussey as Juliet Capulet
• John McEnery as Mercutio
• Milo O'Shea as Friar Laurence
• Pat Heywood as The Nurse
• Robert Stephens as The Prince
• Michael York as Tybalt
• Bruce Robinson as Benvolio
• Paul Hardwick as Lord Capulet
• Natasha Parry as Lady Capulet
• Antonio Pierfederici as Lord Montague
• Esmeralda Ruspoli as Lady Montague
• Keith Skinner as Balthasar
• Roberto Bisacco as Paris
• Bruno Filippini as Leonardo, the singer (uncredited)
• Laurence Olivier as Chorus and voice of Lord Montague (uncredited)

Production[edit]

Casting[edit]

It is often rumored that Franco Zeffirelli considered Paul McCartney of The Beatles for the role of Romeo. Although Zeffirelli does not mention it in his autobiography, McCartney provided plenty of details on this account (including meeting with Olivia Hussey and exchanging telegrams with her) in his co-written autobiography. ^[5]

The director engaged in a worldwide search for unknown teenage actors to play the parts of the two lovers. Leonard Whiting was 17 at the time, and Olivia Hussey was 16, and Zeffirelli adapted the play in such a way as to play to their strengths and hide their weaknesses: for instance, long speeches were trimmed, and he emphasized reaction shots.^[6]

Laurence Olivier's involvement in the production was by happenstance. He was in Rome to film The Shoes of the Fisherman and visited the studio where Romeo and Juliet was being shot. He asked Zeffirelli if there was anything he could do, and was given the Prologue to read, then ended up dubbing the voice of Lord Montague as well as other assorted roles.^[6]

Filming locations[edit]

Set in a 14th centuryRenaissanceItaly in varying locations:^[7]

• The balcony scene: At the Palazzo Borghese, built by Cardinal Scipione Borghese in the 16th century, in Artena, 40 km southeast of Rome.
• The interior church scenes: At a Romanesque church named St. Pietro Somaldi in, Lucca, Tuscania, Tuscania, 90 km northwest of Rome.
• The tomb scene: Also in Tuscania.
• The palace of the Capulets' scenes: At Palazzo Piccolomini, built between 1459–62 by Pope Pius II, in the city of Pienza, in Siena province.
• The dueling scenes with swords were set in the old Umbrian town of Gubbio.
• The film also has some scenes filmed in Montagnana.
• The street scenes: Also in Pienza, and on Cinecitta Studios back lot, Rome.

Reception[edit]

The film earned $14.5 million in domestic rentals at the North American box office during 1969.^[8] It was re-released in 1973 and earned $1.7 million in rentals.^[9]

Famous film critic Roger Ebert (1942-2013), for the Chicago Sun-Times has written: 'I believe Franco Zeffirelli's Romeo and Juliet is the most exciting film of Shakespeare ever made'.^[10]

Review aggregator website Rotten Tomatoes gives the film a 'Fresh' score of 94% based on 36 reviews, with an average rating of 7.9/10; it is accompanied by the consensus: 'The solid leads and arresting visuals make a case for Zeffirelli's Romeo and Juliet as the definitive cinematic adaptation of the play.'.^[11]

Awards and nominations[edit]

Academy Awards ('Oscars')

• Best Picture (Anthony Havelock-Allan, John Brabourne) – Nominated
• Best Director (Franco Zeffirelli) – Nominated
• Best Cinematography (Pasqualino De Santis) – Won
• Best Costume Design (Danilo Donati) – Won

• English-Language Foreign Film – Won
• Best Director (Franco Zeffirelli) – Nominated
• New Star of the Year – Actor (Leonard Whiting) – Won
• New Star of the Year – Actress (Olivia Hussey) – Won
• Best Original Score (Nino Rota) – Nominated

• Best Direction (Franco Zeffirelli) – Nominated
• Best Actor in a Supporting Role (John McEnery) – Nominated
• Best Actress in a Supporting Role (Pat Heywood) – Nominated
• Best Film Music (Nino Rota) – Nominated
• Best Production Design (Renzo Mongiardino) – Nominated
• Best Costume Design (Danilo Donati) – Won
• Best Editing (Reginald Mills) – Nominated

Other accolades for Romeo and Juliet included the David di Donatello and National Board of Review awards for Best Director for Zeffirelli, as well as appearing on the National Board of Review's Top Ten Films list for 1968.

Soundtrack[edit]

Two releases of the score of the film, composed by Nino Rota, have been made.^[12][13]

'Love Theme from Romeo and Juliet'The film's love theme was widely disseminated, notably in 'Our Tune', a segment of the British Broadcasting Corporation (BBC)'s disc jockeySimon Bates's radio show. In addition, various versions of the theme have been recorded and released, including a highly successful one by Henry Mancini, whose instrumental rendition was a Number One success in the United States during June 1969.^[14]

There are two different sets of English lyrics to the song.

• The film's version is called 'What Is a Youth?', featuring lyrics by Eugene Walter, and sung by Glen Weston. This version has been released on the complete score/soundtrack release.
• An alternate version, called 'A Time for Us', featuring lyrics by Larry Kusik and Eddie Snyder. This version has been recorded by Johnny Mathis and Andy Williams, among others. Josh Groban performed 'Un Giorno Per Noi', an Italian version of 'A Time for Us'. Jonathan Antoine, classically trained tenor from Great Britain, performed 'Un Giorno Per Noi' as one of the tracks on his second solo album, 'Believe', which was released in August 2016. A third version is called 'Ai Giochi Addio', featuring lyrics by Elsa Morante, and has been performed by opera singers such as Luciano Pavarotti and Natasha Marsh.

In popular culture[edit]

• Thom Yorke cites the film as one of the inspirations for the Radiohead song 'Exit Music (For a Film)', which was written specifically for the ending credits of the 1996 film William Shakespeare's Romeo + Juliet. Said Yorke, 'I saw the Zeffirelli version when I was 13, and I cried my eyes out, because I couldn't understand why the morning after they shagged, they didn't just run away. The song is written for two people who should run away before all the bad stuff starts. A personal song.'
• Kevin and Paul go to see the film in the episode 'Wayne on Wheels' in season three of The Wonder Years.
• Celine Dion referenced this film, in particular the 'hand dance' scene, in the video for her 1992 single 'Nothing Broken but My Heart'.
• Japanese manga artist Rumiko Takahashi referenced the Zeffirelli film in two of her manga and anime works. In one episode of Urusei Yatsura, devious troublemaker Ryoko Mendou invites the series' male protagonist, Ataru Moroboshi, to have a 'Romeo and Juliet' rendezvous with her, and wears a dress based on Hussey's from the film. Later, Takahashi's Ranma 1/2 featured a storyline in which the lead characters, Ranma Saotome and Akane Tendo, are cast as Romeo and Juliet in a production of the play at their high school. Takahashi designed Ranma and Akane's costumes for the play with Whiting and Hussey's outfits in the Zeffirelli film in mind.^[15]

References[edit]

Notes

1. ^Alexander Walker, Hollywood, England, Stein and Day, 1974 p399
2. ^'Romeo and Juliet, Box Office Information'. The Numbers. Retrieved 29 January 2012.
3. ^Adler, Renata (9 October 1968). 'Movie Review – Romeo and Juliet (1968)'. The New York Times. Retrieved 9 March 2012.
4. ^Ebert, Roger (15 October 1968). 'Romeo and Juliet'. Chicago Sun Times. Archived from the original on 21 December 2007. Retrieved 9 March 2012.
5. ^ Paul Du Noyer. Conversations with McCartney. New York: The Overlook Press. pg.: 138-139
6. ^ ^abLandazuri, Margarita 'Romeo and Juliet (1968)'TCM.com
7. ^Liner notes (back cover) from Romeo & Juliet: Original Soundtrack Recording, 1968, Capitol Records ST 2993
8. ^'Big Rental Films of 1969', Variety, 7 January 1970 p 15
9. ^'Big Rental Films of 1973', Variety, 9 January 1974 p 60
10. ^Ebert, Roger (15 October 1968). 'Romeo and Juliet'. RogerEbert.com. Roger Ebert. Retrieved 17 January 2014.
11. ^'Romeo and Juliet (1968)'. RottenTomatoes.com. Rotten Tomatoes. Retrieved 17 January 2014.
12. ^'Romeo & Juliet: Nino Rota: Music'. Amazon.com. Retrieved 7 March 2012.
13. ^'Nino Rota Romeo & Juliet Soundtrack HDtracks high resolution audiophile music downloads'. HDtracks.com. 4 December 1999. Retrieved 7 March 2012.
14. ^Bronson, Fred (1992). Billboard's Book Of #1 Hits (3rd ed.). New York, New York: Billboard Publications, Inc. p. 255. ISBN0-8230-8298-9.
15. ^The storyline spans chapters 74 through 77 of the manga and episode 39 of the anime titled Kissing Is Such Sweet Sorrow! The Taking of Akane's Lips. http://www.furinkan.com/ranma/misc/index.html

Further reading

• 'Virtuoso in Verona' — 1968 review in Time (magazine)

External links[edit]

• Comprehensive webpage on Romeo & Juliet at the Wayback Machine (archive index), featuring magazine articles and film reviews (archived).
• Romeo and Juliet on IMDb
• Romeo and Juliet at the TCM Movie Database
• Romeo and Juliet at AllMovie