Romeo and Juliet: BBC & Zefferelli

Shakespeare's Romeo and Juliet is compressed into a plot of five days, during which time, a range of dramatic events occur that end in tragedy. Through this short span of time, the reader is able to see a significant change in the characters as the plot unfolds, especially in the heroine, Juliet. Even more so than the play on paper, the play on film has an extremely short time period to effectively develop characters and properly present events as they occur. Two film versions of the play, BBC and Franco Zefferelli, use differing ways to present the play, one in a theatrical small scale manner and one on a movie production scale, respectfully. Both versions show a Juliet who grows and changes but Zefferelli shows the change much more naturally and realistically. Zefferelli uses a young actress who greatly exaggerates the mannerisms of a young girl whose sweetness and vulnerability touch the audience and moves them with her strength and tragic end. One of Shakespeare's most confident and rounded female characters, Juliet goes from being an obedient and naive child into an independent and wise woman. Zefferelli's Romeo and Juliet illustrates this transformation more boldly and brings the audience much closer to the character of Juliet, than the BBC, by more vividly and dramatically portraying the transformation of a child to a woman through the actress herself and her relationships with those around her.

The most striking feature of the Zefferelli production of Romeo and Juliet is the choice and portrayal of the actress, Olivia Hussey, whose young age accurately portrays Shakespeare's adolescent Juliet. This detail is vital in that at first glance, the audience immediately internalizes the character's innocence and youth. The actress in the BBC, while young, is not as young as Hussey and has a more mature look and attitude about her that is first seen when Juliet reacts to the proposal of marriage. The Zefferelli shows a girl who obediently accepts the notion with eyes of eagerness and fear in hopes of pleasing those around her, emphasizing the line "But no more deep will I endart mine eye Than your consent gives strength to make it fly" (97-98) a response that is childish in its obedience and in its immature conception of love. The BBC, although using the same lines, portrays a Juliet who is more knowing and excited about the idea of marriage itself and is anxious but visibly enthused by the news. She is comfortable with her mother and nurse and laughs with bright eyes at the notion of being a wife. The BBC Juliet's maturity is further visible during the party scene in which the she is seen being merry and seems to fall instantly in love at the sight of Romeo. Contrastingly, Zefferelli portrays a Juliet who carefully dances as if the step directions are slowly playing out in her head and her facial expression is one of great nervousness. It is clear from her emotions that the event is one of Juliet's first social parties and Zefferelli emphasizes the fact that she knows no one and is alone as she moves about uncomfortably without companions. The first time she sees Romeo, her eyes show a sense of wonder and curiosity as well as attraction but it is as if she has yet to realize that the feeling she feels is love, loudly proclaiming "Then have my lips the sin that they have took" (108) when first kissed. The Juliet of the BBC, however, seems to recognize her emotions immediately as she approaches Romeo. She speaks calmly, showing the audience that she has realized her unique bond and attraction to Romeo and feels almost at once comfortable with Romeo, his words, and his kiss.

The infamous balcony scene is especially revealing of Juliet's young age and the emphasis on this fact in the Zefferelli movie version when compared to the BBC's production. When the scene changes to Juliet's balcony, the viewer first sees Zefferelli's Juliet swaying about, giggling and daydreaming about Romeo and their encounter. She is in obvious bliss as she twiddles her fingers and plays with her hair as a young girl does. When she sees Romeo, her facial expression conveys fear as well as pleasure. She cannot keep her hands off of him and they kiss fervently, demonstrating the new experience of sexuality between two young people. Juliet has been shielded all her life and is now discovering sexual pleasure. When the nurse calls for her, she frets but responds "By and by; I come" (150) for the second time after being called, signaling her first steps towards independence and isolation from her family. It is here that the audience sees the closest person to the child Juliet, her nurse, become replaced by Romeo, the person who is now most important to the adult Juliet. The BBC also portrays a Juliet who is surprised at the presence of Romeo but she is much more serious and solemn, demonstrating a much more mature stand on her experiences and situation. She is not as unable to physically detach herself from Romeo and responds to the nurse with strong commands with a tone of almost annoyance, rather than fear of authority or of being found out. When she says to Romeo "If that thy bent of love be honourable, thy purpose marriage, send me word tomorrow, By one that I'll procure to come to thee" (145), she is firma and confident in her words, unaffected by the constant caresses and love words of Romeo.

The most important portrayals of Juliet's emotional and mental development throughout the plot are understood by the actress's internalized tone and expressions, but even more so, through her changing relationships with those around her. Juliet has no female siblings or friends her age, with her mother and nurse, making up most of her social contact. She is surrounded by a male society and the nurse is her sole companion before she meets Romeo. The Zefferelli version portrays Juliet's mother as a vain and selfish woman who is annoyed with having to deal with the issues of her growing daughter. In the beginning of the play, she comes in to tell Juliet about marriage but does so while looking in the mirror, admiring her own image. She, more than once, scolds the nurse and seems to be in a hurry to leave. It is obvious that Juliet in the Zefferelli is very close to her nurse but still adores her mother, and thus, has the childish need to please her. However, when her parents force her to marry Paris, she boldly refuses, strongly stating "Not proud you have; but thankful, that you have: Proud can I never be of what I hate;" (145). Juliet turns to her nurse for support but when even the nurse does not back her, the actress is silent for a second with only a knowing look in her eyes that tell the audience, without using words, that the complete break had been made, Juliet is determined to do what she has to, to take charge of her own life. The BBC, on the other hand, portrays Juliet's mother as being very close to both her and the nurse, genuinely caring for her daughter's future and happiness. She tries to calm her husband saying "Ay, sir; but she will none, she gives you thanks" (138) but soon gives up and takes up Capulet's side. Juliet's conflict between being a dutiful child and daughter and becoming an independent and fully sexual adult wife is less pronounced, as she throws a crying fit at her parents' marriage proposal. It seems here that the BBC Juliet is not yet prepared to be alone and is still very much so attached to her family. After everyone leaves, she contemplates keeping the nurse with her and runs after the nurse for company, but is too late. From these actions, the viewer sees that the Juliet in the BBC is still very needy and fearful, of both being alone and the consequences of her actions, unlike the Juliet of the Zefferelli who has reached a pivotal point of defiance and separation, for she is sad and afraid, but also firm and resolute and she concludes "If all else fail, myself have power to die" (241). The young Juliet is no longer able to naively exist, for she quickly becomes a heroine of love, resolved to deceive her parents and do whatever it takes to be true and faithful to her love.

The character and transformation of Juliet is most prominent and visible, appropriately, through her relationship with her love and life, Romeo. At the first meeting with Romeo Juliet has given her heart and thus, begun to enter adulthood. In both the Zefferelli and the BBC versions of Romeo and Juliet, it is seen that Juliet is the more grounded and realistic figure of the romance. Juliet, although in love, is also able to understand the importance of careful planning and thinks of the future while Romeo can only think of the present time and his desires as he speaks romantically in a Troubadour-like manner. The BBC rushes the growth of Juliet, which is seen by the way she handles talking to Romeo and strongly commands him on the appropriate actions to follow from the very beginning, which seems unlikely for a girl of her age and the situation that she is in. On the other hand, in the Zefferelli, Juliet is seen tied up with her new found sexual desires and attraction to Romeo both on the balcony and in front of the friar, showing her youth and inexperience. This is important in showing a more realistic progression in the Zefferelli, for Juliet can be seen changing from an infatuated naïve girl to a woman in love. The climax of their sexual relationship is seen when their marriage is consummated, which is portrayed very differently by the two films. The BBC shows the couple covered after their night together, happy, reserved, and unwilling to separate, seemingly just to inform the audience of the even that had occurred. However, in the large production by Zefferelli, the young actors are shown nude and very much so happy with their relationship, as they continue to be intimate through the morning. The viewer is immediately taken back by the nudity and explicit actions of the scene for the actors are so young, especially Juliet. It is here that the audience truly internalizes the relationship of Romeo and Juliet and Juliet's defiance and rebellion against the values and obedience that she had been taught by her parents. This is essential to her growth for as Coppelia Kahn comments in "Coming of Age in Verona," "It is patriarchal family values which threaten to keep Juliet from becoming an independent woman." Juliet's actions in both the BBC and Zefferelli show that she is her own person, capable of her of thoughts and decisions, and no longer is the possession of her parents. In the Juliet's last scene, the BBC actress speaks her lines and dies tragically while the Zefferelli Juliet first defies the authority of the friar to return to the body of Romeo, showing her final embodiment of love and loyalty. Although the young actress omits some of Shakespeare's lines, she effectively conveys the tragedy of the death of youth in love as she bravely and passionately stabs herself with a dagger, proclaiming "This is thy sheath; there rest, and let me die" (170).

Romeo and Juliet is indeed a play based on the powerlessness of a young generation that is cursed by the hatred and power of the older generation. In the end however, it can be said that youth triumphs in that Romeo and Juliet are finally able to be together, even if death, and furthermore, demonstrate their maturity and make the families realize their foolishness. The BBC, although accurately presenting the characters and the events of the plot, fails to capture the essence of youth and loses some meaning in telling the story of more mature lovers. The Zefferelli production of Romeo and Juliet, however, uses the character development and relationships of Juliet, especially, to demonstrate the effect of love and hatred on the beauty of youth and powerfully expresses the sorrow of the death of youth