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Review: ‘Romeo and Juliet,’ Cut in Half and Twice as Good

Josh O’Connor and Jessie Buckley star as the star-crossed lovers in a compelling stage-film hybrid adaptation.

By Jesse Green

What’s written in haste may be repaired in haste. Or so the fine and fleet new “Romeo and Juliet” from Britain’s National Theater , available here on PBS’s “Great Performances,” convinces me.

At 90 minutes, it is even shorter than the “two hours’ traffic of our stage” promised in its first lines but rarely honored in performance. (The entire play normally takes about three hours.) Yet as directed by Simon Godwin , this emotionally satisfying and highly theatrical filmed version scores point after point while whizzing past, or outright cutting, the elements that can make you think it was written not by Shakespeare but by O. Henry on a bender.

If the cutting merely left what remains with a much higher proportion of penetrating insight and powerful feeling, that would be enough; “Romeo and Juliet,” at its best, anticipates the great later works in which complexity and ambivalence are made real and gorgeous in language. But the speed serves another function here: telling a story that’s mostly about teenagers with a teenage intensity and recklessness.

Not that the stars are anywhere near their adolescence. Though Romeo is 17 or so and Juliet, 13, Josh O’Connor, who played mopey young Prince Charles in “The Crown,” is 30, and Jessie Buckley, the mysterious star of “ I’m Thinking of Ending Things ,” 31. Still, there’s a reason they’re called actors: They can perform the acts a play requires of them. Onstage, at any rate, that would be sufficient.

On film, we need an extra push, which Godwin and Emily Burns, who adapted the text, provide by grounding us in a theatrical world before escorting us into a filmic one. The production begins unceremoniously with the cast in street clothes, entering a theater, unmasked and vulnerable, none more so than O’Connor, with the low-slung, “sticky-out” ears he says earned him his role on “The Crown.” Sitting on three sides of a small, square, scuffed playing space, the actors are barely past the greeting phase — O’Connor and Buckley smile shyly at one another, as if across a Veronese piazza — when the play leaps out of the gate.

Purists not already offended will soon have plenty to set them off. The masked ball at which the lovers meet is not exactly courtly; it’s more like a rave, and Romeo is given just two lines (instead of 10) to fall for Juliet, who is moaning at the mic like Lana Del Rey.

But impurists will be satisfied that the erotic intensity between them is so palpable, even when Godwin dissipates it by cutting away from the theatrical moment to a filmed montage in some other dimension. Similarly, the introduction of a passionate gay pairing among the supporting roles makes up in thematic coherence — the plot turns on forbidden love — what it lacks in textual fidelity.

The trade-offs continue throughout. The most fascinating one finds Juliet’s parents inverted, Lady Capulet (Tamsin Greig) getting most of the lines Shakespeare wrote for her Lord (Lloyd Hutchinson). Greig, so funny on the Showtime series “Episodes,” is spectacularly entertaining as she explores what besides the habitual assertion of male power might motivate a parent to threaten a daughter with expulsion. Her interpretation, underlined by “evil” music, nevertheless denatures one key feature of the play, which now suggests that the Capulets are monsters when the really terrifying thing is that they’re not. They are upstanding citizens doing what’s expected.

It is that atmosphere of immutable custom and inherited hatred that the lovers are desperate to escape. But Godwin’s staging makes clear by physical proximity and by judicious intercutting that these elements are related: Romeo and Juliet’s passion is as rash and irrational as the other characters’ repression and violence. As the outlines of their love are filled in, so is the hatred around them — and so are the set (by Soutra Gilmour ) and props; swords that were simple wooden dowels in Act I by Act III are knives that look menacingly real. In youth, it seems, enmity precedes an enemy just as love precedes a lover.

At every turn we are offered insights like that until, suddenly, we aren’t. Nothing Godwin can do to make the play rough and unfamiliar — whether by having Tybalt (David Judge) urinate on a wall or by excising greatest hits like “parting is such sweet sorrow” — can help it get past the place where the lovers’ ingenuity fails along with Shakespeare’s. The plot thread by which Juliet’s fake death prompts Romeo’s real one is so absurdly flimsy that adaptations have tried for centuries to fix it; Arthur Laurents’s workaround for “West Side Story” is especially strong.

For me, though, no production of “Romeo and Juliet” survives the potions of Friar Laurence; they are a lot of magick to swallow in a play about such real and serious things. That Laurence is portrayed here (by Lucian Msamati) with great dignity, not as a nutty professor, helps, raising the profound if wishful idea that faith can correct for society’s failings. Even more movingly, Deborah Findlay, as Juliet’s fond nurse, is able to temper the role’s comic elements with an immutable loyalty to her mistress, and then temper that with something darker and arguably in fact disloyal. It’s a perfect trifold performance.

That’s the thing about Shakespeare, at least for me: There comes a moment in many of his plays when only the actors can preserve the emotion the plot keeps leaking. Happily, that happens here: As the tragedy narrows, O’Connor and Buckley flood with feeling.

Stars will do that. In the same way an enemy is just a receptacle for enmity that already exists, a starring role is whatever a star can pour ambient emotion into. O’Connor’s essence is a silent yearning — the kind that is not extinguished but fanned by satisfaction. (This is what made his otherwise insufferable Charles almost sympathetic in “The Crown” and the nearly silent young farmer in his breakthrough film, “ God’s Own Country ,” so expressive.) Buckley, whose face seems transparent at times, is more about wonder; her Juliet clearly wants Romeo but, more than that, is amazed by her good fortune in getting him.

Even in a more conventional production — this one was meant to be performed live onstage but was retooled for the pandemic — you need that kind of incandescence to make the play make sense. Remember that Shakespeare was a young star, too, albeit 30 or so himself, when he wrote “Romeo and Juliet.” Indeed, it often seems that his title characters, in haste and passion, wrote it for him.

Romeo & Juliet Through May 21; pbs.org/gperf

Jesse Green is the chief theater critic. Before joining The Times in 2017, he was the theater critic for New York magazine and a contributing editor. He is the author of a novel, “O Beautiful,” and a memoir, “The Velveteen Father.” More about Jesse Green

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Baz Luhrmann, Romeo and Juliet 1996

Read a review and overview of Baz Luhrmann’s classic Romeo and Juliet 1996.

Romeo and Juliet is arguably the classic romantic story of all time, so it’s little wonder that Shakespeare’s play has been reproduced on the silver screen so many times. In 1996 Baz Luhrmann’s version was released to great critical acclaim, grossing close to $150 million, and receiving nominations for a host of awards around the world.

Romeo and Juliet movie starring Claire Danes and Leonardo Di Caprio in Baz Luhrmanns 1996 version

Claire Danes and Leonardo Di Caprio in Baz Luhrmann’s 1996 Romeo and Juliet movie

Although Lurmann’s Romeo and Juliet is the familiar timeless story of the ‘star crossed’ lovers it’s updated to a modern Veronese suburb – Verona Beach – where the teenage members of the Montague and Capulet families carry guns, and when the trouble starts they shoot at each other without restraint. The film retains the original Shakespeare dialogue, but the text is pruned and the story is told mainly through vivid and exciting cinematic images.

Shakespeare’s plays have a timeless quality and have been comfortably interpreted by four hundred years of producers and actors to present them as relevant to their time and the fashions of the time. This film loses nothing of the play’s integrity while catering for the modern teenager’s taste for fast-moving, spectacular visual and musical effects. The music is loud and the camerawork offers what the most popular action thrillers do, driving the audience through the story, hurtling the ill-fated lovers towards their doom.

Luhrmann has created a world in which the extreme wealth of the two families is evident in the pastimes, dress, and lifestyle of their younger generation. They wear expensive outfits, drive fancy sports cars and wield big shiny guns. The fight at the beginning of the play becomes a spectacular gunfight at a petrol station and the party at the Capulet mansion is a sumptuous rock-star style bash. Deafening pop music plays throughout.

The difficulty Luhrmann has to confront is the need to marry his cinematic vision with the language of Shakespeare, and he does this admirably. The key is the convincing way in which the actors speak the lines. Shakespeare’s blank verse iambic pentameter was written as a way of imitating the rhythms of natural speech and all of the actors exploit that quality in the poetry to create that effect. DiCaprio, who has gone on to become a major film star, shows that early promise in this movie. He has an instinctive grace and creates a Romeo whose gut-wrenching emotion is entirely convincing. Danes’ yearning Juliet is exactly right for a strong determined young girl caught up in this powerful emotional swirl. Paul Sorvino as Capulet presents a convincing modern tycoon who can’t understand any form of dissent from his authority and Pete Postlethwaite’s hippy guru, Friar Laurence , is a joy.

Anyone coming to Shakespeare for the first time will enjoy this film, but there is an extra dimension of enjoyment for those who know the play. Some of the character motivations are obscured by Luhrmann’s desire to realise his cinematic vision but knowledge of the play would make everything clear. This movie is a rich addition to the canon of Romeo and Juliet films .

Romeo and Juliet 1996 Cast

The montagues:.

Brian Dennehy as Ted Montague, Romeo’s fathe
Christina Pickles as Caroline Montague, Romeo’s mother
Leonardo DiCaprio as Romeo Montague
Dash Mihok as Benvolio Montague, Romeo’s cousin
Jesse Bradford as Balthasar Montague, Romeo’s cousin
Zak Orth as Gregory Montague, Romeo’s cousin
Jamie Kennedy as Sampson Montague, Romeo’s cousin

The Capulets:

Paul Sorvino as Fulgencio Capulet, Juliet’s father
Diane Venora as Gloria Capulet, Juliet’s mother
Claire Danes as Juliet Capulet
John Leguizamo as Tybalt Capulet, Juliet’s cousin
Vincent Laresca as Abra Capulet, Juliet’s cousin
Carlos Martín Manzo Otálora as Petruchio Capulet, Juliet’s cousin
Miriam Margolyes as Nurse, Juliet’s nanny

Romeo and Juliet 1996 Playlist

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Romeo & Juliet

2013, Romance/Drama, 1h 58m

What to know

Critics Consensus

Shakespeare's classic romance gets a so-so adaptation that's short on passion and energy. Read critic reviews

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Romeo & juliet photos.

In Verona, bad blood between the Montague and Capulet families leads to much bitterness. Despite the hostility, Romeo Montague (Douglas Booth) manages an invitation to a masked ball at the estate of the Capulets and meets Juliet (Hailee Steinfeld), their daughter. The two are instantly smitten but dismayed to learn that their families are enemies. Romeo and Juliet figure out a way to pursue their romance, but Romeo is banished for his part in the slaying of Juliet's cousin, Tybalt.

Rating: PG-13 (Thematic Elements|Some Violence)

Genre: Romance, Drama

Original Language: English

Director: Carlo Carlei

Producer: Simon Bosanquet , Lawrence Elman , Julian Fellowes , Ileen Maisell , Alexander Koll , Doug Mankoff , Andrew Spaulding , Dimitra Tsingou , Nadja Swarovski

Writer: Julian Fellowes

Release Date (Theaters): Oct 11, 2013 limited

Release Date (Streaming): Nov 25, 2015

Box Office (Gross USA): $1.2M

Runtime: 1h 58m

Distributor: Relativity Media

Production Co: Amber Entertainment

Cast & Crew

Douglas Booth

Hailee Steinfeld

Ed Westwick

Christian Cooke

Paul Giamatti

Friar Laurence

Kodi Smit-McPhee

Lesley Manville

Tomas Arana

Lord Montague

Laura Morante

Lady Montague

Damian Lewis

Lord Capulet

Natascha McElhone

Lady Capulet

Count Paris

Stellan Skarsgård

Prince Escalus

Leon Vitali

Nathalie Rapti Gomez

Anton Alexander

Carlo Carlei

Julian Fellowes

Screenwriter

Simon Bosanquet

Lawrence Elman

Ileen Maisell

Alexander Koll

Doug Mankoff

Andrew Spaulding

Dimitra Tsingou

Nadja Swarovski

Philip Alberstat

Executive Producer

Marco Cohen

Fabrizio Donvito

Benedetto Habib

Steven Silver

Neil Tabatznik

John Walsh III

Jackie Walsh

Markus Langes-Swarovski

News & Interviews for Romeo & Juliet

Video Interview: Cast & Writer of Romeo and Juliet

Critic Reviews for Romeo & Juliet

Audience reviews for romeo & juliet.

This is the latest British/Italian/Suiss adaptation of William Shakespeare's romantic tragedy of the same name directed by Carlo Carlei. Like Franco Zeffirelli's adaptation of Shakespeare's tragedy, this film uses the traditional setting of Renaissance Verona, but, unlike any of the previous major film adaptations only follows the plot and only uses some of Shakespeare's traditional dialogue. This has led to a controversy, with several critics denouncing the film's advertising as misleading, and losing the essence of the play. Maybe, but I really think this is the best version to attract the audience which never read or watched the play... especially any school children. We have Douglas Booth as Romeo Montague and Hailee Steinfeld as Juliet Capulet - both gorgeous young acting stars, and they did pretty good job. Many critics loudly complain about lack of passion, but I did not notice that at all! Even Damian Lewis as Lord Capulet, Kodi Smit-McPhee as Benvolio Montague, Ed Westwick as Tybalt and Paul Giamatti as Friar Laurence did a good job... actually, the last one did amazing job. Hailee Steinfeld was said to be in talks for the lead role as Juliet in this adaptation, but due to Steinfeld's young age, there was some concern she would be asked to appear nude in the film. Director Carlo Carlei explained "there was a lovemaking scene that included nudity for the married Romeo and Juliet. This script was written with a 20-year-old actress in mind. As soon as Hailee Steinfeld was cast, all nudity and lovemaking have been excised from the script. It will be romantic and age-appropriate for a 14-year-old." Julian Fellowes added, "We did feel it would be nice to have romantic, married love, and that purity was an important part of the film. They don't make love until they have been married." It was a different time, back then! Tony Howard, in his Around the Globe review writes that the film is "unique in its disrespect for the play, the actors, and young people". I really have no idea what is he talking about! It was an interesting film which managed to present the difficult play in the way which is closest to the understanding of the younger generation! Check it out!

Man, it took them so long to make this film that they were talking about it back when Hailee Steinfeld was still getting work (You'd figure that Oscar nomination would have kept her busy since 2010), and now that it's out, they're not really talking about it. I guess this story has been done to death so much that people just aren't that interested in seeing it again, but rest assured that there is still room for uniqueness in interpretations of this story, because this time around, they actually got teenagers to play the leads, and... changed Shakespeare's dialogue. Okay, maybe people aren't really talking about this film because they know that a bunch of art snobs would come out and boycott it for changing sacred text or something, because to do that really does take... get ready... [b]"true grit"[/b]! Oh yeah, forget Jeff Bridges and his awesome eyepatch, because real men with guts... slightly alter the script of William Shakespeare's "Romeo and Juliet", which is, like, so hardcore to the extreme! Come to think of it, I don't know why they don't make that a selling point, because this story has always been kind of teen-oriented, yet today's teens are such little anti-aesthetic, know-it-all punks that they've no respect for Shakespeare's original text. Oh, it's not like the makers of this film care about maxing out commercial success, as this film is clearly made for artistic purposes, as evidenced, not so much by its making such audacious writing decisions, but by the fact that it's so uninteresting that I just spent a paragraph rambling on about how they changed Shakespeare's dialogue. It's not even like you notice all that much, because the film is still set in Renaissance-era Verona, Italy, where they're still talking all of that ye olde... English and whatnot (I figured it would be Italian, but hey, apparently Shakespeare was also one to change the words you'd expect to be put into people's mouths), so this is no more unfaithful than "Romeo [u]+[/u] Juliet", although it's not quite as successful with making up for its questionable aspects, for a couple of reasons. Certainly, this source material has been done to death, more-or-less to the point of making this adaptation feel somewhat inconsequential, but even outside of that, the storytelling structure of this particular take on an overexplored property hits tropes which are overexplored in other dramas of this nature, leaving it to feel all but tired, no matter how much the filmmakers try to freshen things up. Again, the key novelty with this adaptation of William Shakespeare's legendary melodrama is its making modifications to the distinct dialogue, if not a couple of iconic set pieces, and really, I can't help but feel as though people are making a bigger controversy out of this audacious move than they need to, though that isn't to say that I don't also have my complaints about writer Julian Fellowes' decisions, not so much because he changes practically sacred text, but because he can't seem to fully decide on the degree to which he makes his changes, providing plenty of Shakespearean polish, while still bringing the dialogue far enough down to earth for you to be somewhat distanced from Shakespeare's mythology, and feel just how far-fetched both the dialogue and, for that matter, subject matter is. No matter how compelling this classic subject matter is in a lot of ways, both in concept and in this execution, it really is a definitive melodrama, complete with starry-eyed star-crossed romance and an overblown conflict, backed by questionably drawn characters who, alongside the romance and conflict, were a little easier to get over when an intentionally sentimental story stood behind more intentionally sentimental writing. Again, the modifications made to Shakespeare's text are not that substantial, yet the filmmakers' struggle to figure out if they want to reimagine Shakespeare's imagination or try to bring Shakespeare's imagination as much back into reality as it can broadens the holes in Shakespeare's hopelessly histrionic, but sharply written opus, although it might not so much be the lack of stylistic decisiveness that shakes investment, as much as it is the overt passion to bring some kind of new life to an age-old tale. I feared that resonance would most be shaken by too much of the dryly bland thoughtfulness that has slowed down the momentum of plenty of other overambitious Shakespeare adaptations, yet it's ironically too much color that shakes engagement value, for although the sentimentality is generally genuine, there are times in which director Carlo Carlei gets carried away with saccharine plays on an emotive score and the histrionic narrative structuring, to the point of cloying with only so much assurance. When it's all said and done, the big problem with this film is simply a lack of full realization, for although both ambition and inspiration are present, there's only so much effort being put into rounding out this effort, which is ultimately too ambitious and formulaic for you to disregard the legendary histrionics and sentimentality which solidify the final product as overblown and underwhelming. Nonetheless, what the film does right it does better than many are saying, falling short of rewarding, of course, but standing as serviceably entertaining and aesthetically pleasing. If no other form of faithfulness within this somewhat loose adaptation of a triumph of the Renaissance era of the art industry is earning attention, it is the decision to be the first major "Romeo and Juliet" adaptation since Franco Zeffirelli's 1968 adaptation to set this story during Renaissance Verona, Italy, which is worthy of receiving attention, as this period drama's era goes captured subtly, yet surely through distinguished production and costume designs that, with tasteful stylistic choices in filming, establish uniquely handsome visuals. I don't know if this film is quite as aesthetically rich as many of the critics are admitting it is, but make no mistake, there is at least plenty of value within the art direction of this somewhat narratively misguided interpretation of a classic English-language, or rather, Shakespearean-language Italian affair, and that reflects a certain inspiration which is further pronounced by genuinely effective areas in the execution of this melodrama. The decision to modify Shakespeare's text is questionable, partly because it seems unnecessary, and partly because there isn't enough realization to the changes for you to bond with either Shakespeare's vivid imagination or a more relatively realistic take on the story's setting's dialect, yet such a move reflects a boldness within the writing that drives Julian Fellowes to craft a still pretty tight script, with sharp dialogue, both faithful and liberal, in addition to well-staged set pieces which draw you into the story. Really, the quality of this film overall is ultimately most determined by how much the filmmakers do justice to its subject matter, which is, of course, legendary in its being so melodramatic, - as the sentimentality and struggles to modify a storytelling style that we've kind of gotten used to through the ages will stress to you through a sense of overambition - but ultimately nothing short of worthy, with intriguing conflicts and memorable characters through all of the over-imaginativeness, sold adequately by the writing that I've criticized and complimented, as well as by the direction that is also about as worthy as praise as criticisms. Again, Carlo Carlei's directorial storytelling gets to be sentimental in its tenderness, but ambition is ultimately met by enough inspiration within the aforementioned fine style and tasteful celebration of near-hauntingly lovely, if sentimentality scoring by Abel Korzeniowski that sustains entertainment value, punctuated by enough thoughtful realization to move with genuine-seeming depths (I don't care how many different ways I've seen it, that ending sure is moving when handled right), further brought to life through all of the sentimentality and overambition by performances which rarely lose the genuine inspiration that is so limited within overblown storytelling. Admittedly, Ed Westwick is near-aggravatingly hammy as Tybalt, yet he is luckily ultimately underused in comparison to the rest of this talented cast, from which plenty have opportunities to stand out, though not quite as much as leads Douglas Booth and Hailee Steinfeld, each of who project impressive dramatic layering and emoting to drive the conflict behind a melodramatic romance that the leads further sell through fine chemistry. Booth and Steinfeld, while too underwritten to be truly revelatory, show that this age of young talents is the time to keep faithful to Shakespeare's vision of youths as the legendary titular star-crossed with solid lead performances that drive the film more than Carlei and Fellowes, who still bring enough to the table to bring the final product to the brink of rewarding, in spite of lapses in potential fulfillment. When it's all said and done as it has been time and again, with a few changed words, that is, conventions and uneven writing stylizations to the nonetheless sentimentally overambition telling of a histrionic story secure the final product as underwhelming, but just barely, as handsomely stylish art direction, haunting score work, reasonably inspired writing and direction, and strong performances - particularly those between leads Douglas Booth and Hailee Steinfeld - ultimately prove to be enough to make Carlo Carlei's and Julian Fellowes' "Romeo and Juliet" yet another decent, if flawed telling of a classic melodramatic tale. 2.75/5 - Decent

GORGEOUS scenery and costumes. Completely gorgeous. Some not bad delivery. Eh.

An inadequate version of the Bard's love and death saga with a very disappointing Hailee Steinfeld mumbling her way through the sacred prose and performing the most awkward kissing scenes in quite awhile. Lesley Manville and Paul Giamatti are the lone standouts in this forgettable cast. (10-9-13)

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Romeo & juliet: film review.

Julian Fellowes adapts a decorous but bland version of the Shakespearean romance, which features Douglas Booth and Hailee Steinfeld.

By Todd McCarthy

Todd McCarthy

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Some generations get a Romeo and Juliet that speaks to their times — Franco Zeffirelli ‘s 1968 version played right into flower power and rebellious attitudes, while Baz Luhrmann ‘s 1996 modernized, gangsterized take hit the right urban nerve for its moment. Today’s teenagers will have to make do with this decorous but bland version, which with its straightforward presentation and significantly abridged text calls to mind the old Classics Illustrated comic books of classic literature. The older the actors here, the better they are, as pros like Paul Giamatti and Damian Lewis have it all over low-voltage young leads Douglas Booth and Hailee Steinfeld . Relativity will be lucky to milk anything more than a moderate take from this pretty but unexciting enactment.

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Romeo + Juliet (United States, 1996)

In Looking for Richard , actor/director Al Pacino expresses his great hope for his film -- to extend his enthusiasm for the Bard's plays to a broader audience. In a very different way, that's what Baz Luhrmann ( Strictly Ballroom ) is attempting to do with this radical approach to "Romeo and Juliet". Luhrmann hasn't fashioned this motion picture with the stodgy, elitist Shakespeare "purist" in mind. Instead, by incorporating lively, modern imagery with a throbbing rock soundtrack and hip actors, he has taken aim at an audience that would normally regard Shakespeare as a chore to be endured in school, not a passionate drama to ignite the screen.

Make no mistake, this Romeo and Juliet isn't the match of Franco Zeffirelli's unforgettable 1968 classic. While Leonardo DiCaprio and Claire Danes make an effective couple, their romance doesn't burn with the white-hot intensity of Leonard Whiting and Olivia Hussey's. Nevertheless, this interpretation is so fundamentally different from anything to have come before it that there's no danger of repetition. By the same token, there have been two different "Richard III"s in the past twelve months, and no one is complaining.

For those who aren't aware, "Romeo and Juliet" tells the tale of two "star-cross'd" teenage lovers who secretly fall for each other and marry. Their families, the Montagues and Capulets, have been fierce enemies for decades, and, even as Romeo and Juliet say their wedding vows, new violence breaks out between the clans. In the end, their love is doomed. When Romeo mistakenly believes Juliet is dead, he poisons himself. And, when Juliet discovers that he is dead, she too commits suicide.

Luhrmann's Romeo and Juliet (properly titled William Shakespeare's Romeo and Juliet ) takes the play and deposits it in a modern Verona Beach that is part decaying Miami and part Mexico City. By the director's own admission, this is a created world, borrowing aspects of its unique visual style from such diverse periods as the 1940s, 1970s, and 1990s, and using a variety of classic films (most notably Rebel Without a Cause ) for inspiration. Fast cars with roaring engines replace horses. Guns stand in for swords and daggers. The resulting hybrid background is startling.

Romeo and Juliet 's camera is restless, always moving. There are times when the rapid cuts and raging soundtrack might cause understandable confusion between the movie and a rock video. Indeed, with all the camera tricks, special effects (such as a roiling storm), and riotous splashes of color, it's easy to lose the story in the style. Luhrmann's intent was never to drown Shakespeare's dialogue in technique, but it happens, especially early in the film. In the process, the more subtle intangibles of the romance are irretrievably lost.

The movie settles down when Romeo (DiCaprio) and Juliet (Danes) first come face-to-face, gazing at each other through the transparent panes of an aquarium while a love ballad plays in the background. It's a delicately romantic moment whose magic is never quite matched by any other scene in the film. Danes makes a breathtaking Juliet, merging strength and fragility into one. DiCaprio isn't quite as successful as Romeo; there are times when his delivery of Shakespeare's dialogue sounds forced, and, on at least one occasion (when he learns about Juliet's supposed death), he goes way over-the-top.

The supporting cast has its share of successes and failures. John Leguizamo plays a particularly effective Tybalt, Juliet's Latino cousin. Despite a terrible accent, Miriam Margolyes gives a delightful interpretation of Juliet's nurse. In a daring move that works, Harold Perrineau's Mercutio is presented as a high-energy drag queen who gets a chance to strut his stuff to a disco tune with Shakespearean lyrics. Pete Postlethwaite (as Father Laurence) and Vondie Curtis-Hall (Captain Prince) are both at ease in their roles. Brian Dennehy's presence is, as always, imposing, but, as Lord Montague, he doesn't have more than a handful of lines. Less successful are Paul Sorvino's cartoon-like portrayal of Lord Capulet and Diane Verona's Blanche DuBois-flavored version of his wife. And a pair of characters, Paul Rudd's Paris and Jesse Bradford's Balthasar, are so ineffectual that they're virtually invisible.

There are moments of comedy in Shakespeare's play, and Luhrmann tries to transfer some of these over, in addition to adding a few of his own. One in particular, with Romeo ineptly scaling a trellis for the famous balcony sequence, is ill-placed. Also, there are times when the director gets a little too cute. A run-down theater in Verona is called "The Globe" (the name of the locale where Shakespeare's plays were originally performed), and the astute viewer will catch visual references to "The Merchant of Verona Beach", "Rozencranzky's", "Wherefore L'Amour", and "Out, Out Damn Spot Cleaners".

Ultimately, no matter how many innovative and unconventional flourishes it applies, the success of any adaptation of a Shakespeare play is determined by two factors: the competence of the director and the ability of the main cast members. Luhrmann, Danes, and DiCaprio place this Romeo and Juliet in capable hands. And, while such a loud, brash interpretation may not go down in cinematic history as the definitive version of the play, hopefully it will open a few eyes and widen the audience willing to venture into any movie bearing the credit "based on the play by William Shakespeare."

Now, bring on Kenneth Branagh's Hamlet ...

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Screen Rant

'romeo and juliet' review, it's a respectable adaptation that most moviegoers (young and old) will be able to appreciate, but also the kind that you suspect will leave junior high/high school students bored..

Romeo and Juliet is a traditional cinematic adaptation of William Shakespeare's famous tragedy play, as was filmed on location in the original setting of Verona, Veneto, Italy. The story centers on teenagers Romeo (Douglas Booth) of the House of Montague and Juliet (Hailee Steinfeld) of the House of Capulet, who are immediately smitten with one another upon their first meeting - despite the long-standing open hostilities between their respective families, that is.

The young lovers, caught in the maelstrom of impassioned romance (but without the wisdom of age and experience), decide to get married in secret, which the Friar Laurence (Paul Giamatti) consents to, believing that their union could be the key to ending the blood feud between the Capulets and Montagues. However, the couple's future is soon put in jeopardy by a terrible chain of events, as though fate itself is conspiring to teach Romeo and Juliet's warring kin a lesson they will never forget.

Oscar-winning actor/writer Julian Fellowes (creator of Downton Abbey ) adapted Shakespeare's classic theatrical work about doomed romance for this 21st century film version of Romeo and Juliet . Fellowes' script retains the thematic essence of the Bard's original play, yet neither he nor Italian director Carlo Carlei prove able to capture the desired emotional sizzle, nor expand upon the narrative's substance and insights in a timely fashion. The end movie result is a perfectly competent, yet unremarkable revitalization of Shakespeare's play on the big screen.

The 2013 film version of Romeo and Juliet is a far more purist interpretation of the original story than other retellings over the years (see: Baz Luhrmann's Romeo + Juliet ), yet it fails to capture how the drama was originally intended to feel to those watching in the audience. Although the elegant costumes manufactured by Carlo Poggioli ( Cold Mountain ) and find craftsmanship of the historical production design by Tonino Zera ( Miracle at St. Anna ) deserve to be recognized, the movie isn't so colorful or expressive in spirit, resulting in an adequate re-staging that nonetheless comes off as too timid for its own good.

Most of the blame for that belongs to director Carlo Carlei, seeing how the script by Fellowes largely amounts to an effective streamlining of the source material (then again, Fellowes could be criticized for not having something new and substantial to add to the text). Carlei gives little cinematic flavor to the scenes that are word-for-word from the Bard's original play, but he and cinematographer David Tattersall ( Star Wars: Episode I-III ) still capture the physical/verbal conflicts and the scenes of swooning romance with a satisfactory amount of flair. Unfortunately, the transitional beats in the film usually amount to either a bland montage (showing characters moving to a new location) or a clunky fade to black.

Booth and Steinfeld have the proper adolescent look to portray the titular lovers, in addition to being strong performers who have solid (though, not quite palpable) romantic chemistry onscreen. Giamatti as the Friar Laurence is excellent as ever; in many ways, he is the heart of the film, as he captures the character's full range of emotions and imbues the climactic drama in the third act with more emotional resonance than it might've possessed otherwise. Similarly, Lesley Manville as Juliet's attendant Nurse plays her sidekick role with charm and rousing spirit (even though it is a little uncomfortable when the character starts waxing poetic about the much-younger Romeo).

The remainder of the cast is likewise solid, including Kodi Smit-McPhee ( Let Me In ) as the earnest Benvolio, Christian Cooke ( Magic City) as the fiery Mercutio, Ed Westwick ( Gossip Girl ) as the impetuous Tybalt, Damien Lewis ( Homeland ) as the borderline-insecure Lord Capulet, Tom Wisdom ( Pirate Radio ) as the pitiable Count Paris, and Natascha McElhone ( Californication ) as Lady Capulet. The only actor who feels somewhat out of place is Stellan Skarsgård ( Thor ), whose turn as the Prince of Verona is a bit too menacing and unfeeling when he's meant to be righteously angry and world-weary.

As a whole, though, Romeo and Juliet (2013) benefits from good casting decisions and lovely production values, yet the story execution is stilted and doesn't feel inspired enough, considering this is supposed to feel like the most powerful tragic romance tale ever told. It's a respectable adaptation that most moviegoers (young and old) will be able to appreciate, but also the kind that you suspect will leave junior high/high school students bored when they're forced to watch it for class in the future.

In case you're still undecided, here is the trailer for Romeo and Juliet :

Romeo and Juliet is now playing in limited theatrical release. It is 118 minutes long and Rated PG-13 for some violence and thematic elements.

International edition
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Jessie Buckley, Lucian Msamati and Josh O’Connor in Romeo and Juliet.

Romeo and Juliet review – National Theatre's first film is an ingenious triumph

Sky Arts Josh O’Connor and Jessie Buckley captivate as the star-crossed lovers in a pacy, painterly and emotionally raw production

T he National Theatre ’s first foray into film-making is a very different proposition to an NT Live recording. It is a production created solely for the screen. A note at the end tells us it was shot “on a single stage, over 17 days, during a global pandemic”. But no disclaimer is needed. Poised and adventurous, this Romeo and Juliet is a hybrid wonder and full of intelligent invention. Emily Burns’s adaptation is sleek and at times feels lean but that is a necessary sacrifice for tension and pace. Director Simon Godwin has given the film a remarkable sense of movement and played with theatrical artifice in deft ways.

The opening shot shows the actors convening on the stage for rehearsals, props and dressing rails strewn around them, with the safety curtain in sight. Further in, rehearsal shots are incorporated into the production to remind us of the film’s mechanics but none of these elements seem laboured.

One of the most powerful soliloquies, which features Juliet on the verge of drinking the potion that will bring on the semblance of death, features a circle of actors around her on stage. The scene retains all its emotional power, and we are not pulled away from Juliet’s inner state but brought closer. The actors in the blurred peripheries appear ghostly, as if she has already entered a different dimension.

There are some constructed sets – drawing rooms and bedrooms – but the film looks best when characters are lit against its black backdrop, evoking the drama of old master paintings. Tim Sidell’s photography appears like a moving painting at times and Michael Bruce’s music is just as beautiful. Filmed on and around the Lyttelton stage, it has a claustrophobic feel that not only resonates with lockdown but also captures the choking sense of fate closing in on the young lovers.

Only at times does it seem too poised, its characters sometimes lacking the messy emotional excesses that lead to the play’s many tragedies. Jessie Buckley , as Juliet, stands out as the film’s heart and soul. Intense and ardent, she is a strong, rebellious daughter who verges on the punkish, and even when she is at her most vulnerable never appears weak. Josh O’Connor comes out of the shadow of The Crown’s Prince Charles, the role for which he is best known, yet seems grave and emotionally coiled. But together they gel and their instant love, sparked at a modern-day party at the Capulets’, is captivating.

Tamsin Greig ’s Lady Capulet is a controlling mother: cold, imperious and a little too menacing. Other characters, from Fisayo Akinade’s passionate, gay Mercutio to Lucian Msamati’s Friar, Adrian Lester’s Prince and Deborah Findlay’s warmly clucking Nurse, are finely rendered.

Commercially, the scale and resource of this venture can hardly serve as a blueprint for other theatres to follow, but artistically it is just exquisite. If this is a first venture into a pandemic-resistant revenue stream for the National, it sets the bar high.

National Theatre
Jessie Buckley
Tamsin Greig
Simon Godwin
Romeo and Juliet

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Romeo + Juliet (1996)

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Romeo and juliet (2013), common sense media reviewers.

Teen-friendly take on Bard's classic has spark, little soul.

A Lot or a Little?

What you will—and won't—find in this movie.

Love supersedes hate and anger; it finds a way to

Romeo and Juliet are devoted to one another, and t

This being in the far past, swords and knives are

Some lingering over a man's bare torso, plus k

Revelry during celebrations.

Positive Messages

Love supersedes hate and anger; it finds a way to rise above the fray.

Positive Role Models

Romeo and Juliet are devoted to one another, and the friar and Juliet's nurse recognize the commitment the two have for one another.

Violence & Scariness

This being in the far past, swords and knives are the weapons of the day, and a handful of characters die from being struck by one during a duel; one is self-inflicted. Much animosity exists between the Montagues and the Capulets, and there's lots of trash-talking (albeit in rhyme). A vicar slaps a man.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Some lingering over a man's bare torso, plus kissing and rolling around under the covers in bed. It's all soft-lighting and gauzy.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Drinking, Drugs & Smoking

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that this not-so-faithful adaptation of William Shakespeare's Romeo and Juliet is a fairly traditional, straightforward, period piece that will likely appeal to teens. The romance at the heart of it is sweet; Romeo and Juliet's attraction depicted as instant love. There's no swearing but some poison-drinking and swordplay, some of which -- no spoiler here -- ends up in death. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Kids say (12)

Based on 6 parent reviews

One of the "tamer" versions of Romeo and Juliet

Lives up to expectations, what's the story.

It's the Bard's romantic tragedy for the ages, featuring a swoony, moody, beautiful Romeo ( Douglas Booth ) who's swept off his feet at first glance by the sweet and gently Juliet ( Hailee Steinfeld ). But in fair Verona, the Montagues, of which Romeo is a member, and the Capulets, whose jewel is the patriarch's daughter, Juliet, are mortal enemies. The eager Paris wants to marry Juliet, whose hot-headed cousin Tybalt ( Ed Westwick ), hates Romeo and his cohorts, the fair-minded Benvolio ( Kodi Smit-McPhee ) and the dashing Mercutio (Christian Cooke). Romeo's confidant, Friar Laurence ( Paul Giamatti ), thinks there might be a path for happiness for the young couple, with the help of Juliet's nurse (Lesley Manville). But the course of true love never did run smooth.

Is It Any Good?

ROMEO AND JULIET's titular hero is the stuff of teen dreams; he is made as appealing here as can be. He's an artist (a broody one, too), a heartfelt romantic and impetuous, driven to grand gestures and wearing shirts barely cosseted. Booth fares fairly well with the Bard's challenging lines, reciting them with real-life cadence. It's too bad that his counterpart, Steinfeld, doesn't. She doesn't so much say her lines as mutter them, gobbling up the beautiful poetry. She doesn't shortchange the material when it comes to acting, however. Steinfeld plays it straight and it suits the film well. Booth and Steinfeld may not share a white-hot chemistry, but they are starry-eyed, indeed.

Downton Abbey creator Julian Fellowes wrote this remake, and it's prone to soap opera-ish flourishes. (Director Carlo Carlei doesn't do it any favors, either.) The music is overdone, as are the lingering shots of Booth's handsome face. Fellowes' and his cinematographer's take on Juliet is quite obvious, too; they encase her in a gauzy, dreamy light -- cheap shots that curb the movie's potential. And Westwick's Tybalt seems to relish his role too much. This adaptation of Romeo and Juliet won't break new ground like Baz Lurhmann's did. It isn't lush like Franco Zeffirelli's 1968 version, either. But it's pretty and earnest in wonderful ways, and that's nothing to scoff at.

Talk to Your Kids About ...

Families can talk about what made Romeo and Juliet immune to the hatred sown by their feuding families. How would this kind of family feud play out today?

Was Romeo and Juliet's love really true love? Or a romanticized, idealized version of love? What is the film's take on it?

Movie Details

In theaters : October 11, 2013
On DVD or streaming : February 4, 2014
Cast : Damian Lewis , Douglas Booth , Hailee Steinfeld
Director : Carlo Carlei
Inclusion Information : Female actors, Asian actors, Multiracial actors
Studio : Relativity Media
Genre : Drama
Topics : Book Characters
Run time : 118 minutes
MPAA rating : PG-13
MPAA explanation : some violence and thematic elements
Last updated : February 20, 2024

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‘Romeo & Juliet’ Play Starring Tom Holland and Francesca Amewaduh-Rivers Faces ‘Barrage of Racial Abuse,’ Producer Says ‘This Must Stop’

By Naman Ramachandran

Naman Ramachandran

‘Romeo & Juliet’ Play Starring Tom Holland and Francesca Amewaduh-Rivers Faces ‘Barrage of Racial Abuse,’ Producer Says ‘This Must Stop’ 2 days ago
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The Jamie Lloyd Company has hit back after its production of Shakespeare’s “Romeo & Juliet” has been the subject of what they call a “barrage of deplorable racial abuse” aimed at an unnamed cast member.

The play, directed by Jamie Lloyd (“Sunset Boulevard”), stars “Spider-Man: No Way Home” star Tom Holland as Romeo and Francesca Amewaduh-Rivers (“Sex Education”) as Juliet.

On Friday, the Jamie Lloyd Company issued a statement , saying: “Following the announcement of our ‘Romeo & Juliet’ cast, there has been a barrage of deplorable racial abuse online directed towards a member of our company. This must stop.”

“Romeo & Juliet” is due to play at London’s Duke of York’s Theatre May 23 through Aug. 3. The run is already sold out.

In 2021, a landmark survey titled “Race Between the Lines: Actors’ Experience of Race and Racism in Britain’s Audition and Casting Process and on Set” found that 64% of respondents experienced racist stereotyping in an audition and 55% experienced racist behavior in the workplace.

In March this year, two proposed “Black Out” London West End performances of Jeremy O. Harris‘ “Slave Play” came under fire from U.K. Prime Minister Rishi Sunak‘s office.

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Tom Holland Staging of Romeo & Juliet Undergoes 'A Barrage of Deplorable Racial Abuse'

The Jamie Lloyd Company releases a statement pleading for the "barrage of deplorable racial abuse" to stop immediately.

In a statement posted on Friday, April 5, The Jamie Lloyd Company addressed the "deplorable racial abuse" directed toward actress Francesca Amewudah-Rivers.
The company insists on creating work without facing online harassment and will not tolerate bullying or harassment in the industry.
At the time of this writing, Romeo & Juliet star Tom Holland has not responded to the company's "racial abuse" post.

“This must stop.” Those are the words written in a statement posted Friday, April 5 by @RomeoJulietLDN from The Jamie Lloyd Company , which addresses “a barrage of deplorable racial abuse online directed towards a member of our company.” Although she went unnamed in the statement, the “racial abuse” is directed toward actress Francesca Amewudah-Rivers, who portrays Juliet in the upcoming sold-out run of Romeo & Juliet. The 12-week production is set to appear at London’s The Duke of York’s Theatre, and it features Spider-Man and MCU star Tom Holland in the lead role of Romeo. The statement posted to X, formerly Twitter ( @RomeoJulietLDN ), reads as follows:

“Following the announcement of our ‘Romeo & Juliet’ cast, there has been a barrage of deplorable racial abuse online directed towards a member of our company. This must stop. We are working with a remarkable group of artists. We insist that they are free to create work without facing online harassment. We will continue to support and protect everyone in our company at all costs.”

The statement continues:

“Any abuse will not be tolerated and will be reported. Bullying and harassment have no place online, in our industry or in our wider communities. Our rehearsal room is full of joy, compassion and kindness. We celebrate the extraordinary talent of our incredible collaborators. The ‘Romeo & Juliet’ community will continue to rehearse with generosity and love, and focus on the creation of our production. — The Jamie Lloyd Company.”

Backlash Over the Casting of Juliet

Tom Holland's casting announcement in Romeo & Juliet caught many Marvel fans off guard and even disappointed those hoping his next big project would be Spider-Man 4 . But it was the revelation on March 28 that Francesca Amewudah-Rivers would be portraying Holland's on-stage love interest, Juliet, that sparked the "deplorable racial abuse" online. Warning, some of what follows is wildly inappropriate, and unless otherwise notated, the following comments were posted in response to Holland's Romeo & Juliet post on his official Instagram account @tomholland2013 . @aros.o99 commented on Amewudah-Rivers playing Juliet:

she's a nig*a

The Stars of Romeo & Juliet Are Suing Paramount, 55 Years After Film's Release

@aros.o99 comment came yesterday in a response to another Instagram user, joy_queen2.0 , who called out Holland for not addressing the racism directed toward the casting of his "co-star Francesca." The stars of The Jamie Lloyd Company's production of Romeo & Juliet features a mixture of races in integral roles with Freema Agyeman portraying the Nurse, Ray Sesay playing Tybalt, Daniel Quinn-Toye making his professional debut — he steps into Paris' shoes — and Joshua-Alexander Williams as Mercutio.

But it's Amewudah-Rivers who is being called out online for winning the role of Juliet. A week ago, another Instagrammer, @altair.dct , wrote in the comments of Holland's original post:

Why is Juliet black?

Three days ago, @mrsklhayes commented:

Why does she look like a dude[?]

Another Instagrammer, @lgmolloy12 , implored for Holland to say something in response to the comments directed toward his co-star:

You need to speak up for your costar. The fact that you didn’t post when most other company members have speaks volumes.

At the time of this writing, Holland hasn't commented on the "racial abuse" directed toward Francesca Amewudah-Rivers. The Jamie Lloyd Company's production of Romeo & Juliet runs from Thursday, May 23 through Saturday, August 3. However, the 12-week run is already sold out.

For more information, please visit the production's official website now. And check out the statement released by The Jamie Lloyd Company concerning the "racial abuse" in its entirety below:

Tom Holland's Romeo & Juliet Co-Star Faces Racial Abuse - Producers Respond

Racial abuse leveled at Tom Holland's Romeo & Juliet co-star has prompted a response from the producers.

Tom Holland's next role will see him take to the stage as Romeo in a new West End production of Romeo and Juliet in London, and he'll be co-starring with Francesca Amewudah-Rivers as Juliet. Following the casting announcement, there has been a " a barrage of deplorable racial abuse online " leveled at Holland's co-star, prompting an official response from the show's producers.

Per the BBC , the statement from the Jamie Lloyd Company reads, “ This must stop. We are working with a remarkable group of artists. We insist that they are free to create work without facing online harassment. We will continue to support and protect everyone in our company at all costs. Any abuse will not be tolerated and will be reported. Bullying and harassment have no place online, in our industry or in our wider communities.”

Madame Web Concept Art Reveals Fight Scene With Tom Holland's Spider-Man

The producers went on to state that the rehearsal room for the cast and crew is "full of joy, compassion and kindness," and that the Jamie Lloyd Company celebrates the "extraordinary talent" of everybody involved. Their statement continued, "The Romeo and Juliet community will continue to rehearse with generosity and love, and focus on the creation of our production."

Tom Holland Returns to the Stage for Romeo and Juliet

Tom Holland's casting in the project was announced in February, following some teasing from the actor that had some fans believing it would be for a new Spider-Man movie . The announcement came as a surprise partly due to Holland focusing on on-screen work in his adult years. While he did star in a production of Billy Elliot The Musical as a child, Romeo and Juliet will be the first time he's performed on stage as an adult actor. His co-star, Francesca Amewudah-Rivers, is making her West End debut, after previously appearing in the BBC series Bad Education .

Spider-Man Star J.K. Simmons Reveals He's 'Never Met Tom Holland'

“Beyond excited to announce our cast for Romeo and Juliet . I can’t wait to get started and I know we’ll create something really special together," Holland said in a statement when the cast was announced last week.

"I’m so grateful to be making my West End debut as Juliet with the Jamie Lloyd Company," Amewudah-Rivers added. "It’s a dream to be joining this team of incredible artists with Jamie at the helm. I’m excited to bring a fresh energy to this story alongside Tom, and to welcome new audiences to the theatre.”

The Romeo and Juliet show will run at the Duke of York's Theatre in London from May 11 through Aug. 3. Jamie Lloyd is directing. The show's cast will also consist of Freema Agyeman, Michael Balogun, Tomiwa Edun, Mia Jerome, Daniel Quinn-Toye, Ray Sesay, Nima Taleghani, and Joshua-Alexander Williams, with Callum Heinrich and Kody Mortimer as camera operators.

Holland was last seen in The Crowded Room , which premiered on Apple TV+ in 2023, and he is expected to return as Peter Parker for a fourth Spider-Man film .

Source: BBC

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Broadway cast set for kenny leon-directed ‘home’, tom holland’s ‘romeo & juliet’ to “transfer to broadway after tickets sell out in two hours”.

By Caroline Frost

Caroline Frost

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One of the "tamer" versions of Romeo and Juliet

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Romeo and Juliet

Romeo + Juliet

West Side Story

‘Romeo & Juliet’ Play Starring Tom Holland and Francesca Amewaduh-Rivers Faces ‘Barrage of Racial Abuse,’ Producer Says ‘This Must Stop’

Naman Ramachandran

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