Romeo and Juliet Review At Amazon.
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Romeo and Juliet Review At Amazon..
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this is a lavish, astonishing production, with a cast that is so comfortable with the language. They bring out the beauty of the words, and clarity to their meaning.
Norma Shearer, despite being more than twice Juliet’s age, plays her exquisitely…I gain her to be the loveliest and most beautiful of the veil Juliets I’ve seen.
Leslie Howard, who was 42 at the time, is handsome. With his perfect musical mutter and enunciation, he’s a joy to view and listen to…what a pity that he didn’t film more Shakespeare…a Howard “Hamlet” (which he had a colossal success with on Broadway), would have certainly been a film fancy.
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Also large is John Barrymore’s flamboyant Mercutio, and Edna May Oliver is my all-time approved Nurse.
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Though I believe the imaginitive and slightly bizarre Baz Luhmann/Leonardo DiCaprio version is astounding and a must-see (as is the fight scene in the Zeffirelli production!) what makes this George Cukor version so special is the poetry of the language…if you want to hear the words spoken as I’m determined Shakespeare intended, give this film a try.
It’s wonderful how often the legendary Irving Thalberg was allowed to obtain M.G.M. “prestige pictures” that produced awed reviews and spotty box-office receipts. It’s even more wonderful how often he required his wife, actress Norma Shearer, to star in them, to the eventual detriment of her career. As suitable as Shearer was, she acquired a reputation as a star of stately, lifeless movies made to please no one but her husband.
The distinguished exception to Thalberg’s bustle of helpful Shearer failures was “Romeo and Juliet”. Although it conformed to the norm by not making grand money, it was a very sparkling film, far better than most filmed Shakespeare.
Norma was 36 when the movie was shot, and it was feared she was a bit mature for the section. The dilemma was tackled by hiring an even older Romeo, 43-year-old Leslie Howard. The supporting cast was the best in the business- John Barrymore as Mercutio, Basil Rathbone as Tybalt, Edna May Oliver as the Nurse, Reginald Denny as Benvolio, and Violet Kemble-Cooper as Lady Capulet. George Cukor was tapped as director, and Agnes de Mille choreographed the period dance that is the highlight of the lovers’ first meeting.
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Production values were wonderful, even for a Shearer movie. The creamily lit photography flattered the stars, and the props and sets were radiant. The exterior plot for the balcony scene took up all of M.G.M’s Stage Sixteen, then the largest soundstage in the world; there was so grand precise vegetation that the building began producing its possess weather. The costumes were a bit over-the-top; those for the supporting cast are highly theatrical, and the star wardrobe is intended to flatter at the expense of authenticity (Shearer’s hairstyle is that of a boy of the period, not a young woman) .
All the lavishness in the world would not have mattered if the cast and crew hadn’t delivered, but they did. Under the tutelage of Constance Collier, Shearer turned in a touchingly tender Juliet, actually getting the best contemporary reviews of any cast member. Howard’s Romeo was a bit perfunctory, but serene managed a nice sense of mischief in the early scenes. Basil Rathbone’s prideful Tybalt was the allotment he was born to play, and Oliver’s Nurse crammed the maximum of bawdiness and fun into a section badly nick to comply with the demands of the censors. The surprise casting- and performance- of the film was Andy Devine as Peter, the Nurse’s servant. It should have been wildly incongruous, but Devine’s raspy yell and simple demeanour were perfect for the section.
Two scenes stand out in the memory. One is the stately pavane being danced when Romeo first spies Juliet. Shearer’s timing and subtlety benefit her well here; she interacts with her nominal dancing partner, Paris, and with Romeo on the sidelines, keeping time to the dance and losing it, sending messages of admire with her eyes while her body attempts vainly to contain an appearance of propriety.
The other is Barrymore’s turn as Mercutio; it’s said he was drunk during distinguished of the filming, and that the recall of his biggest scene ancient in the final slit was the only usable one. None of Barrymore’s problems exhibit on film; his hooting, larky performance is a miracle of droll timing and not to be missed.
The film has its minute problems; no one was able to lick the story’s inherent lack of action at the demolish, and the vitality of the film lapses into talkiness in a few later stretches. There is a lapse of judgement in one space where Romeo and Juliet kiss; the otherwise current music switches to Tchaikovsky’s “Romeo and Juliet”, dragging the scene into cliche. And director Cukor later bemoaned the lack of “garlic and the Mediterranean” in the film’s glimpse and feel.
It’s smooth something very rare on film: Shakespeare that is well and respectfully adapted for the conceal, accessible to any viewer, and beautifully played. Of all the versions of “Romeo and Juliet” on film, this is the one that tells the fable best.
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