Romeo_and_Juliet

Baz Luhrmann, the director of ‘Romeo and Juliet’, is a well known Australian director who has a very unique directorial style. We see this in Romeo and Juliet but also in other films of his such as Moulin Rouge, where he uses bright costumes and sets, sometimes symbolically. Many of his films are characterising a lively, frantic pace and a lot of different styles of music. In the ball scene in Romeo and Juliet Luhrmann uses a variety of camera shots to build up tension and a certain atmosphere. These atmospheres are created by his of camera angles, shots and movement. At the beginning of the scene, when Romeo first enters the ball, Luhrmann uses a mid shot on Romeo showing some of his emotion at that point. This also shows the background and what is happening around the character. Occasionally the camera switches to a close up of Romeo showing his weary, confused state while under the influence of drugs. This creates a rather manic scene for the audience. Another example of his use of angles is when Luhrmann uses a long shot on Romeo, Mercutio and friends when they are in the car, to show how distanced they are from reality after they are under the influence of drugs. He uses the complete opposite, a close up, later on in the scene when Romeo is out of his drug-induced state and has all his attention on Juliet. The camera swaps between close ups of the two characters, Romeo and Juliet, showing reactions to one another. During the scene Luhrmann uses a wide range editing techniques to create a pace according to his wishes. An example of a frantic pace in this scene is when the nurse drags Juliet away from Romeo and the lift, where they just were a moment ago. He uses quick close up shots of Romeo and Juliet as she is being led away and romeo follows eagerly. Luhrmann also uses different forms of editing throughout the ball scene. One example of this is when Romeo has taken drugs. Luhrmann uses different stages of Romeos state of mind. For example he uses slow motion when he and Mercutio are in the car and the pace gradually speeds up as the drugs take more affect. Another example of editing is when Luhrmann uses slow cuts between Romeo and Juliet through the fish tank. In the scene Luhrmann uses diegetic and non-diegetic sounds combined to add a sense of confusion at the ball. He uses real sounds such as music played at the ball but adds in sound effects such as Tybalt’s growl and Capulet’s squeal to give a sense of mixed reality. This confusing sound variation completely disappears in the fish tank scene when Romeo and Juliet are alone. When the two characters are alone only diegetic sounds can be heard to give the effect of calm and peace as all you here is the water in the tank and soft music from the party happening outside. Luhrmann uses a range of costumes and props throughout the scene. One example of Luhrmann’s interesting use of costume and props is when Tybalt acknowledges Romeos presence at the ball. Tybalt is dressed as a devil, displaying his fiery nature. Also the wall behind him is red reflecting his anger and fury. This is a clever effect Luhrmann uses at other points in the scene, for example in the fish tank scene there is a lot of blue used to create a calm and relaxed mood. Also Luhrmann uses the grand stair case for Mercutio's song Romeo imagines. He also uses over the top, glittery costumes and wig for Mercutio to show his large personality and part in the play. Luhrmann also uses bright eccentric colours during this part of the scene to show the overall excitement and character of the people involved in the scene. In conclusion Luhrmann uses a variety of camera angles, editing, sounds, costumes and props to create different moods and impressions of the characters in the ball scene.