The dim lighting adds a bit of suspense as to what is to come later in the scene. The lighting during the early part of the scene in Luhrmann’s film is dim, but not so dim that Romeo and Juliet could not clearly see each other. It could be argued that dim lighting is more romantic however, with dim lighting throughout, there is no suspense created by changes in lighting. In Zefferelli’s film, the lighting stayed dim throughout the scene with the exception of a slight bit of moonlight. In addition to his use of costuming, Zeffirelli’s use of dim lighting throughout less accurately conveys the romantic tone compared to Luhrman’s use of slightly overall brighter lighting and bottom-up lighting during the pool scene. Although Zeffirelli’s use of costuming did convey the romantic tone, Luhrmann better conveyed the tone by having the costumes of Romeo and Juliet represent a hero and a princess. The plain white dress worn by Juliet in Zeffirelli’s film does convey a romantic tone, but Juliet’s more princess-like dress in Luhrmann’s film matches Romeo’s knight attire to better convey the romantic tone. However, her dress appears more princess-like in Luhrmann’s film. In both films, Juliet is dressed in white.
This costuming not only shows a lack of innocence for Romeo, but also that he is considered a hero by Juliet. In Luhrmann's film, Romeo is dressed in dark clothes that a knight would wear. She is accustomed to wealthy, well-dressed people.
Although Romeo’s black clothes show a lack of innocence, they would not impress Juliet. In Zeffirelli’s film, Romeo is costumed in dark party clothes in the style of the wealthy party goers. With the use of costuming, lighting, and music, the romantic tone of Shakespeare’s Romeo and Juliet is less effectively portrayed in Franco Zeffirelli’s film but is portrayed more effectively in Baz Luhrmann’s film.Īlthough Zeffirelli’s use of costuming conveys a somewhat romantic tone, Luhrmann’s use of costuming better conveys the romantic tone. Tone Evaluation of Two Romeo and Juliet Films
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