Perhaps there was no mature time with “Romeo and Juliet” in our contemporary time. Although 29 years have passed since “Romeo + Juliet” in Paz Lorman, “William Shakespeare” Romeo + Juliet “, the long play recently began a handful of creative re -design. Lovers lovers.
However, just because the source material cannot be proven not to make all these modifications good, or even do not forget. Unfortunately, this is the case with “Juliet and Romeo”. The adaptation of the writer and director Timothy Scott Bogart (“Gold Spinning”) takes a stab in the revitalization of the centuries -old text, and its renewal as a music of pop and the star minus, his personality, and his personality. It was incorrectly developed, and was incorrectly executed and does not contain music numbers that are not erased to take advantage of our fingers. This is “La La Land”-dealing with the cold story of frustration and endurance.
When we meet for the first time in our heroes, it is Veruna around 1301 and there is a dark peace treaty between two warring families: those Lord Montage (Jason Ishaq), Roses, Lady Capolit (Robert Evert and Ribel Wilson). Capolit’s daughter, Juliet (Clara Rogard), arrived at the house from the inner school, angered her cousin and her friend Rosalin (Tila Parks), who mysteriously warns her of anxious situation that will affect her future. The montage also deals with some family conflict where Mercutio (Nicholas Podany) feels the need to prove himself to his adopted father, but in love with the normal Veronica (Martina Ortz Lewis), while the son of Biuto Romeo (Jimmy Ward) seeks the rebels whenever possible.
This opportunity reaches as soon as Romeo and Juliet meet in the Laila Moqar Market – neither of them is aware of the other, although they both wear the colors of their family gang. By the time they discover, they are already fascinated, embrace in the alleys and on the seats of the church, and they are afflicted through the dead basements. But Destiny puts them on the way to the insertion of Lord Paris (Dennis Andres) in the Juliet Parties Party, and when her cousin discovers the hot (Ferdia Walsh-Peleo) from Romeo. The only thing that love birds can do is Hope Friar Lawrence (Derek Jacobi) and Apothecary (Dan Fogler) can help them.
The amateur process is frustrated from the beginning, as it seeks to imitate the imagination of stories by using pages of pages and the discharge of the exhibition to capture the movie. The result is artificial and durable. The collections that use the original pop songs written by the brother of Bogart Ivan Kid Bogart and Justin Gray fail to inspire a wonderful fantasy, imagination or joy. These sequences are cut into parts – not in the music video style – hides the design of dance and does the emotional effect. However, it is recognized that it is nice when lovers sing about falling in love while they were literally taking into a vehicle filled with hay.
In narration, BOGART rid the arrangement of events by marrying the husband before the Capulet ball, and adjusts the peak in a purely familiar way to hint the sequel. It also adds a filling through the song to the characters that do not require a display number, but because of their lineage, it is expected to have one. This casts active momentum and tone. But imagine the uproar if Fogler is not given a song to sing a singing camp in his laboratory or Wilson is not given a hymn to enable females in the castle.
The proper character’s development is amazing to anyone named Romeo, Juliet or Mercotio. Bogart fixes the dialogue and spoiling procedures with some of the main phrases of the play, but in a confusing manner that does not bother to give a lot of internal or external motivation to support players such as Rosaline, Juliet (Sara Lazzaro), Versante (LEDSI) and many men in the Romeo team. So when they all start Warbling notes and raised their preparation to the sky during the edited musical numbers, we left to scratch our heads about the reason for its inclusion in this choir.
With a generosity, this violent product, which was renovated, is not filled with pests. There is an added value to use real Italian sites as the film embodies. Although the actors seem to be simultaneously to the pre -recorded paths, the way they breathe their hot breath in the cold air when they sing their emotional songs inside the corridors of these authentic groups that give good weight to their performance. Dante Ferretti’s virgin production design helps in our immersion in the afternoon. Rugaard and Ward participate in a sweet and spontaneous chemistry, and imagine us whenever possible. In addition, Podany builds depth and dimensions in the sensitive aspects of the edges of his personality.
There is still a better repetition of the idea of Bogart and Company there, waiting to be completely achieved – married to marrying stronger original paths for the Shakespeare story. Looking at the recent show, perhaps we will get this perfect version in time. Currently, though, among our existing options, we can record a high degree of topics and use by reconsidering the luxurious Luhrmann production.