The scene I chose starts at 8:15

Hurry!

Shakespeare’s Romeo + Juliet is an interpretation of Shakespeare’s tragedy, set in then-modern times in 1996. Romeo and Juliet come from feuding families, but fall in love, though eventually conflicts with the relatives bring about their premature deaths. This classic story has been played onstage for centuries, and most people are familiar with the plot. But this modern version is a complete change of pace. The movie was directed and produced by Baz Luhrman, who had the task of giving new light and new techniques to the story, and he made a version that is completely different from the norm. Luhrman’s rapid cutting techniques, harsh lighting and sound editing create a memorable, tense scene when Romeo races to the church to see his apparently dead love. Tones of chaos and determination show the great lengths one can go to assure the safety of someone or something they love.

Luhrman completely achieves the tone of urgency in the dash to the church scene, near the end of the movie. In two minutes of film, there are 70 cuts. The shots rapidly switch from Romeo’s frantic face to squealing police cars to a droning, hovering helicopter. This gives the effect that Romeo is being attacked on all sides and completely overwhelmed, by law enforcement not unwilling to kill him. The idea of being overwhelmed is also supported by the use of several camera angles, including aerial and panning shots of Romeo, showing he is watched from the air and from the street. The scene is almost confusing from the rapid changes in perspective, highlighting the chaotic element. Lighting is provided primarily from spotlights on the helicopter and police car headlights. It completely bleaches out Romeo, and his white face gives the appearance of fear, helped by the exertion from running. Romeo looks crazed, helping the chaotic effect. Finally, the sound editing adds another layer of noisy confusion to the scene. The helicopter is deafening throughout the three minutes, therefore Luhrman wanted this hovering presence to not go unnoticed. Loud gunshots add to the noise, and dramatic music plays the whole while. So the screen is flashing madly from the rapidity of cut shots, the noise is a cacophony of sounds, and the lighting on Romeo makes him look insane. The scene is chaotic. Romeo goes through all of this to get to his love and make sure she is alright.

Despite looking scared out of his wits, Romeo is very determined to get into the church to Juliet. Camera angles of Romeo running, such as panning and Romeo running into and out of the frame show that Romeo is really getting somewhere and not giving up. He runs as fast as possible, and one reason that Luhrman decided to cut so quickly was because he ran so quickly out of frame. Also, a considerable amount of the loud, distracting noise made in the scene was made by Romeo, indignant toward the police. He would not scream “Tempt not a desperate man!” while holding a gun to a hostage’s head if he was not determined to see Juliet. His own gunshots toward the helicopter and police officers add a significant amount of noise as well. Romeo indeed takes a hostage and positions the man in front of him so the police won’t shoot, while he is on the steps of the church. This certainly would not happen if Romeo was not determined. In the end, Romeo succeeds in reaching the church, and the police remain outside, allowing Romeo a last goodbye to his wife.

Romeo’s determination and the chaos of the scene in Baz Luhrman’s interpretation of Romeo + Juliet create the theme of going to any lengths to save a loved one. Luhrman’s modern, edgy twist to the genre of Shakespearean plays refreshes the theme, potentially made stale from many years on the stage. Indeed, I understood every monologue in the play after watching the movie instead of reading the book, because of the modern aspect. The use of fast cutting, harsh lighting and chaotic sound editing set the tones in this penultimate scene of a desperate chase through the streets of Verona Beach.

Excellent movie scene: Romeo + Juliet
Location of Scene: Romeo goes to Juliet after he hears she's dead
Running time: 2:58

The scene begins with a close-up of a door being pounded on, which a man with a gun opens. Cut to a close-up of Romeo, yelling frantically at the man. Fast cuts back and forth between the man and Romeo. Cut to the man, with Romeo's fist holding money in the frame by the man's face. Man backs into the house and the camera follows. Close-up of the man's hand pulling a vial out of the base of a lamp. Cut to a close-up of the priest, drinking a shot, then turning away from the camera. Cut to a close-up of the man with the vial up to his face, then Romeo grabs it and there is a close-up of him with the vial. Cut to a medium shot of the exterior of the building they are in, low angle, lit with floodlights from a helicopter. Loud noise of the helicopter blades in the background. Romeo descends winding stairs and hops into a car, which pulls away quickly. Camera pans to the helicopter above. Cut to close-up of priest speaking. Cut to close-up of Prince, then quickly cut to aerial shot of Verona at night, mounted on the helicopter. Cut to nervous priest again. Cut to several fast aerial and panning shots of Romeo's getaway car, as well as shots of the helicopter hovering and cop cars. Cut to a close-up of Romeo getting out of the car and talking to the driver, then cut to a medium shot of the car peeling away. Cut to the perspective of the helicopter, floodlighting the street then panning up to the steeple of a church. Cut to EXCELLENT aerial wrap-around shot of the steeple, floodlit, as awesome dramatic opera music plays. Cut to several rapidly cut shots of Romeo running to the church, dodging cop cars as shots of the helicopter are cut in as well. Then some close-ups of Romeo and a man on the church steps, floodlit, and quick shots of police cars. Tight shot of the man, and Romeo grabs the man from out of frame and pulls the man out of frame. Cutting to close-ups of police offers then quickly back to a close-up of Romeo with a gun to the man's head, shouting "Tempt not a desperate man". Then a series of shots of Romeo from several perspectives shooting at the helicopter, with milisecond shots of the helicopter, police cars and police officers peppered in. Then a close-up of Romeo releasing his hostage and backing into the church. The scene is very hectic from the fast editing, tight shots of people moving around a lot, loud helicopter, dramatic music, gunfire and crazy lighting. It's very busy and dramatic.

Journal #6: Word Choice

Anouilh repeats the words yes and no several times in the conversation between Antigone and Creon. I believe that Anouilh chose to rewrite this play and use yes and no so often is to show the significance of making one's own decisions, which is a big theme in Antigone. Other Greek tragedies are deeply rooted in the idea of fate and gods controlling decisions, but Antigone is prevalently rooted in the idea of choice and creating one's own destiny, which Anouilh must have found important.

Anouilh uses the ambiguous term of life in the conversation as well. Creon sees it as opportunity, but Antigone sees it as something that can become worthless and should end when the time is right. Such a conversation between the two can get twisted if their interpretations of life are very different.

Journal #5: Motivation of Jason

Jason is motivated to be angry with Medea by the fact that she killed his sons. Not only is he angry that she killed them, but he feels that she does not understand Jason's point of view. Jason believes he is completely justified in marrying another woman, because he is supporting Medea. But Medea, after sacrificing so much for Jason, wants him all to herself because she believes she deserves him. Jason does not understand the idea of monogamy, apparently, and the pair definitely does not see eye to eye. So Jason is appaled and furious with Medea, who goes to such lengths as to kill Jason's bride and sons.

"You miserable, mephitic woman! Beyond abhorrence..." (74)
"Leave me to mourn my destiny of pain: my fresh young wedding without joy, my sons begot and reared and lost..." (75)
"Poor children, what a monster fate gave you for a mother!" (75)

Journal #4: literary techniques and their effects

Imagery: "...through the smell of them and their cruel, roaring laughter." Ismene is very afraid of getting into trouble, and the use of imagery highlights her characteristics of being a good, obedient woman.
Repetition:"Stronger than all fever..." (14) The repetition of strength provides the idea that the Nurse is very important to Antigone and will play a significant role later in the book. It also highlights the role of men versus women in a position of strength, as Sophocles puts men in the strong role and Anouilh is being different by putting women in a strong role.
Metaphor:"A little young for what, my kitten?" (14) Anouilh uses terms of endearment for Antigone to show that she is a sweet girl that one should feel sympathy for. The nurse loves Antigone, and we shall, as well.
Foreshadowing:"And we shall suffer..." (12) This use of foreshadow plays with the fact that the audience knows what will happen, so it is a form of dramatic irony. Also, the chorus at the beginning lets the reader know what will happen, which is a further use of dramatic irony.

Journal #3: What do you know about the 1940s in Europe and how do you predict that will influence Anouilh's version of Antigone?

Anouilh was a Frenchman during WWII when Antigone was written, which was a very turbulent time. The harsh realities of war are most likely reflected in the book, when the two brothers are fighting and kill one another. The line separating absolute good and absolute evil may have been blurred, as there could have been people that Anouilh knew serving both sides of the war, which also appears in the story when Antigone is conflicted with the fact that she loves her brother and that he was a bad person.