Romeo Und Julia 2013 Wo kann man diesen Film schauen?
Obwohl die Familien Montague und Capulet aus Verona seit Generationen miteinander verfeindet sind, gelingt es dem jungen Romeo Montague, sich einer Einladung zum Maskenball im Haus der Capulets zu bemächtigen. Dort trifft er auf Julia, die Tochter. Romeo und Julia () – Wikipedia. Douglas Booth und Hailee Steinfeld sind Romeo & Julia in Carlo Carleis Neuauflage des tragischen Shakespeare-Stoffes. von 21 Ergebnissen oder Vorschlägen für DVD & Blu-ray: "romeo und julia ". Überspringen und zu Haupt-Suchergebnisse gehen. Berechtigt zum. Romeo and Juliet ist ein britisch-US-amerikanisches-italienisches Drama von Regisseur Carlo Carlei aus dem Jahr Es ist die Verfilmung des gleichnamigen. Romeo & Julia (). Originaltitel: Romeo and Juliet. Da anscheinend jede Generation seine Romeo & Julia Verfilmung zu brauchen scheint, war es wieder einmal an der Zeit, das alte Shakespeare Script.
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Das könnte dich auch interessieren. Als sich während eines Maskenballs ausgerechnet die jeweils jüngsten Zöglinge Romeo Douglas Booth und Julia Hailee Steinfeld aus den verfeindeten Häusern unsterblich ineinander verlieben, scheint guter Rat teuer. Ähnliche Filme. Lesley Manville.See the full gallery. In the city of Verona, two families have a prolonged and ancient feud. The Montagues and the Capulets co-exist under the stern eye of the Prince, but the hatred between the families threatens all, in particular the children.
The young men of both families are hot-blooded and ready to fight at any provocation, despite the Prince's edict against such fights. But when young Romeo, a Montague, first sets eyes on the virginal Capulet daughter Juliet, no enmity between families can prevent his falling in love with her, and her with him.
From this risk-laden romance comes both joy and tragedy for all. Of all the clever-clever barbs fired at the "Romeo and Juliet", "Shakespeare for Dummies" has probably given the film's detractors the most satisfaction.
But, as anyone who has read my user reviews of the "Pride and Prejudice" and the "Mansfield Park" will quickly realise, I am no purist as far as literary adaptations for cinema are concerned.
I suppose therefore I must be something of a dummy, but a dummy who would like to take the floor to confess to finding this recent version of literature's most famous youth-love-death cocktail rather wonderful.
Not that it hasn't been well done before. I haven't seen Castellani's but Zefirelli's later version was a thoroughly worthy attempt, certainly of a standard to raise a question as to whether further interpretations were needed.
I experienced serious unease fuelled by all those truly awful reviews before even the opening credits.
Give it half an hour perhaps. Not that it started particularly well. A horseback contest between a Montague and Capulet reminded that we might well be entering "Ben Hur" country with all the boredom of that gargantuan epic.
I suppose it was the entry of Douglas Booth's Romeo chipping away at a stone figure of Rosaline, his current love, in an artist's workshop that raised more than a glimmer of interest.
Was ever a portrayer of the role more handsome! And this coming from a pretty 'straight' viewer! Just imagine his effect on all those Juliets in the audience!
I have to admit to finding him the more engaging partner, hardly matched by a no more than pretty Juliet, who rather gabbles her lines and is, well, little more than average school dramatic society material.
By now I am aware that I am hardly writing a review of something of a terrific film, so what makes it so outstanding? It can be summed up in the one word - passion.
This version concentrates on the lovers to the exclusion of much else such as the groundings humour of Mercutio here played absolutely seriously as is Lesley Manville's pragmatically intelligent Nurse.
For once,in Paul Giametti's outstanding portrayal, we can really feel the tragedy of Friar Lawrence's ghastly misguided solution to saving the young lovers which serves to drive the action forward to those tragic deaths presented with such moving intensity.
It all culminates in a truly great moment when the young Benvolio clasps the dead lovers hands together. Not Shakespeare but nevertheless a masterstroke.
As a bonus we are treated to beautifully shot locations. At one point where the lovers depart from one another on a riverbank the image is ravishing.
The main quarrel of its detractors seems to be copious liberties with the playwright's text. There is no question but this is an adaptation in the same way as Kurosawa's "Throne of Blood" and "Ran" both of which are reverenced by cineastes yet contain not a line of Shakespeare.
Why all the furious reactions to this version? Remembering the derision than was heaped against Powell and Pressburger's marvellous "Gone to Earth" when it first appeared in the early 's but has now achieved deserved recognition, I put it that Carlo's Carlei's "Romeo and Juliet" is possibly a film before its time.
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Edit Details Country: Germany. This script was written with a 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 year-old. They don't make love until they have been married. 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! Panta O Super Reviewer. Feb 14, 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 , 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 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 Oh yeah, forget Jeff Bridges and his awesome eyepatch, because real men with guts 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 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 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.
Cameron J Super Reviewer. Oct 10, Completely gorgeous. Some not bad delivery. Jennifer D Super Reviewer. 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. John C Super Reviewer. See all Audience reviews. There are no approved quotes yet for this movie.
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The Undoing. Dal canto suo, anche la giovane rimane stupita dalla bellezza del ragazzo e i due, dopo aver ballato assieme, riescono ad appartarsi per qualche istante, dove scambiano una breve conversazione e si baciano.
I due ragazzi si scambiamo un'eterna promessa d'amore e decidono di suggellare la loro unione con il matrimonio il giorno seguente. Il religioso, dopo un momento d'esitazione, finisce per accettare, ritenendo l'amore fra i due giovani un'ottima occasione per cercare di riconciliare le due famiglie.
Romeo allora, soddisfatto della cosa, dopo aver parlato con la balia personale di Giulietta, inviatale presso la sua abitazione proprio dalla ragazza, progetta il matrimonio per il pomeriggio stesso.
Chiedendo a loro dove si trovi il ragazzo, li prende a male parole, cosa che fa infuriare Mercuzio, che, sguainata la spada, inizia a battersi con il rivale.
Assistito alla morte dell'amico di sempre, Romeo, assetato di vendetta, inscena a sua volta un duello con Tebaldo ed alla fine lo uccide.
Venuto a conoscenza dei fatti e non ritenendolo completamente colpevole della morte di Tebaldo, il principe decide di esiliare Romeo a Mantova.
Il ragazzo allora, addolorato dalla sentenza, corre da Frate Lorenzo e mentre il religioso lo sta consolando, arriva la balia di Giulietta, che dice al giovane che la moglie lo vuole vedere per passare con lui un'ultima notte d'amore prima della partenza per Mantova.
Nel frattempo, Lord Capuleti riceve presso la sua dimora il Conte Paride, assieme al quale fissa la data del matrimonio con la figlia, nonostante il recente lutto per la morte del nipote Tebaldo.
Quella stessa sera, Romeo s'intrufola nella stanza di Giulietta. I due giovani amanti passano un'intensa notte di passione ed il mattino dopo si danno l'addio.
La ragazza allora, disperata, si reca da Frate Lorenzo, al quale confessa piani suicidi.
Jetzt auf Amazon Prime und 1 weiteren Anbieter anschauen. Am Ende kommt es zum bekannten Finale und dem Suizid Alex Greenwald beiden Protagonisten. Frank Röth. Tom Wisdom. Farb-Format Farbe.
Shakespeare's tragic young lovers Gerald Meynier, Rosemarie Dexter are caught in the middle of a Renaissance family feud. User Ratings. Romeo goes to Juliet and they consummate their marriage. Ed Westwick was the first actor to read the script. The Mandalorian. Super Reviewer. More trailers. Hailee Steinfeld e Douglas Booth in una scena del film. External La Le Lu. Romeo and Juliet. GB, I, CH, Romeo Montague und Julia Capulet (Douglas Booth, Hailee Steinfeld) verlieben sich und wollen heiraten - auch gegen. Romeo und Julia () VOLLE HD. Romeo Montague und Julia Capulet (Douglas Booth, Hailee Steinfeld) verlieben sich und wollen heiraten - auch gegen. Romeo Und Julia 2013 Statistiken
Mario von Josh Trank. Hailee Steinfeld. Stattdessen sieht Romeo Julia, die Tochter der Capulets und verliebt Captain Fantastic Stream Kinox in sie. Christian Cooke. Aber nope, es ist ein Kostümschinken. Kommentar speichern. Tom Wisdom.Romeo Und Julia 2013 Movies / TV Video
Prokofiev: Romeo and Juliet Suite - Radio Filharmonisch Orkest led by Antony Hermus - Live HDRomeo Und Julia 2013 - Klicken Sie unten, um Romeo und Julia (2013) herunterzuladen
Damian Lewis. Tobias Nath. Am Ende kommt es zum bekannten Finale und dem Suizid der beiden Protagonisten. Romeo schleicht sich mit Benvolio und Mercutio, in der Hoffnung, Rosalinde zu treffen, hinein.
es Wird sich das gute Ergebnis ergeben