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Behind the Red Curtain of Verona Beach: Baz Luhrmann’S William Shakespeare’S Romeo + Juliet Toby Malone

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Behind the Red Curtain of Verona Beach: Baz Luhrmann’S William Shakespeare’S Romeo + Juliet Toby Malone BEHIND THE RED CURTAIN OF VERONA BEACH: BAZ LUHRMANN’S WILLIAM SHAKESPEARE’S ROMEO + JULIET TOBY MALONE It’s inconceivable that Romeo is not caught [in Juliet’s the comprehensive world of Luhrmann’s William bed]: that’s what Red Curtain Cinema means.1 Shakespeare’s Romeo + Juliet and the extraordinary lengths taken – on a series of sliding levels – to Extraordinary suspension of disbelief is a hallmark ensure the film’s internal verisimilitude. of Baz Luhrmann’s 1996 film, William Shakespeare’s ‘Red Curtain Cinema’ is conceptually central Romeo + Juliet.2 Ruptures in logic like Romeo’s to the development of Luhrmann’s film world. bedroom near-miss are accepted by filmgoers con- Luhrmann coined the term as an overarching def- ditioned to conventions of fantastical escapism inition of his filmmaking process while promoting alongside extreme verisimilitude. Luhrmann suc- his 2001 movie musical Moulin Rouge!. Luhrmann cessfully collides the familiar (of verisimilitude) noted the structural continuity, common crew and with the unfamiliar (of escapism), and meshes 1996 stylistic through-line that linked his three films – fashion, music and physicality with Elizabethan Moulin Rouge!, Strictly Ballroom (1992)andWilliam language, laws and social restraints. Luhrmann’s Shakespeare’s Romeo + Juliet – and dubbed it ‘The combined aesthetic is established within a distinc- Red Curtain Trilogy’. The Red Curtain offers tive, created world, uniquely crafted and micro- ‘a self-conscious nod to the audience in the sto- scopically detailed, in which every piece of text and rytelling that eschews realism’,3 and adheres to dialogue is an intertextual reference from almost three conventions: (1)settinginaheightened creative the entire breadth of the Shakespearian canon. world; (2)useofarecognizable story shape;and(3) The difficulty of naturalizing Elizabethan lan- audience awareness that what they are watching is not guage, customs and themes on film has, over the meant to be real.4 Unlike the Sydney of Strictly Ball- past century, yielded adaptations set in specific room and the Paris of Moulin Rouge!,however,the time-frames or places to establish distance, aes- thetics employed by filmmakers including Olivier 1 Marius de Vries, William Shakespeare’s Romeo + Juliet: and Branagh. The perils of neglecting distance Music Edition, DVD Commentary (Twentieth Century are seen in Michael Almereyda’s 2000 Hamlet, Fox/Bazmark Inq.), 2006. 2 set in modern-day Manhattan. Almereyda’s hin- William Shakespeare’s Romeo + Juliet,Dir.BazLuhrmann 2003 2006 drance was too-strong familiarity and blurred divi- (DVD, Twentieth Century Fox/Bazmark Inq., / ; Blu-Ray, Twentieth Century Fox/Bazmark Inq., 2010), sion between the fictional and the actual, where 1996. modern New Yorkers speak verse in well-known 3 Anton Monsted, personal e-mail correspondence, September settings. This choice permits the audience to linger 2010. Monsted is formerly Luhrmann’s assistant, and is now on anachronisms or overt familiarity, which under- General Manager of Luhrmann’s company, Bazmark Inq. 4 ‘Strictly Ballroom’. IFI Study Guides.www.irishfilm.ie/ mines the story and draws attention to artificiality. downloads/ifi strictly sg.pdf , accessed 31 August 2011,p.8. The world of the director’s vision is essential to Moulin Rouge! is prefaced with a literal red curtain parting as the success of the adaptation. This article examines if it were a theatrical premiere.` 398 Downloaded from Shakespeare Survey Online by IP 142.150.190.39 on Mon Oct 21 19:27:36 WEST 2013. http://dx.doi.org/10.1017/SSO9781139170000.029 Shakespeare Survey Online © Cambridge University Press, 2013 BEHIND THE RED CURTAIN OF VERONA BEACH ‘Verona’ of William Shakespeare’sRomeo + Juliet is so aural references, foregrounded by the Red Cur- heavily removed from the geographical location of tain’s very real artificiality. Verona Beach’s compre- Verona that it is rebranded entirely. For Luhrmann, hensiveness establishes a local dialect, constructed this is not Verona. This is Verona Beach. with visual, verbal and musical signifiers percep- This is a version of Verona never before com- tible in concentric layers of detail. This discourse mitted to film: a ‘shimmering no-place’,5 adis- completes the world’s construction, authorizes the tinctive world of its own, one ‘made up of use of Elizabethan language, and envelops the collage ...visual collage, written collage, sonic viewer so completely that every detail becomes collage, and ...musical collage’.6 The ‘pastiche part of a discursive vernacular. visual nightmare known as Verona Beach’7 is a dusty, urban coastal wasteland whose architecture, weather, and style variously evoke Mexico City, project genesis California, Miami and Rio. Familiar fashion, music This investigation began after I rewatched and accents encourage audience identification, but the opening moments of William Shakespeare’s Luhrmann avoids an identifiable American city to Romeo + Juliet for perhaps the tenth time. As the emphasize Verona Beach’s other-worldly location. ‘Montague Boys’ are introduced, a vaguely inaudi- Production briefs called for ‘a heightened created ble piece of text is spoken, external to Shake- world. recognizable to a contemporary audience speare’s play. Being familiar with Luhrmann’s pro- but. laden with and informed by the world indi- duction design, I came to suspect that there was 8 cated by the language of Shakespeare’. more to this exclamation than had been previously Verona Beach, then, in its heightened style, con- acknowledged. The official DVD captioning of the scious verisimilitude and exacting detail, might be film’s first dialogic scene (Shakespeare’s 1.1)con- called a ‘possible-world’, a setting where the log- firmed this suspicion: Phrases shouted by Samson ically impossible is authorized through exhaus- and Gregory (absent from the published screenplay) tive authenticity. I will return to the possible- are captioned as follows: world theory in relation to Luhrmann’s ‘collage’ in greater detail below. Luhrmann’s heightened sampson: milieu emphasizes its fictionality, with fine detail Excrement – In a Urinal – which enfolds a generation’s distaste for perceived sampson and gregory: Shakespearian archaism – a major studio con- Go rot!10 cern – into the world’s very construction material.9 Luhrmann’s intertextual basis for Verona Beach allows space to exist where real-world rules need 5 Alfredo Michel Modenessi. ‘(Un)Doing the Book “with- not apply, be they legal, linguistic or geographical. out Verona walls”: A View from the Receiving End of Baz Luhrmann’s William Shakespeare’s Romeo + Juliet’, in Spectacu- Verona Beach is a place that does not exist in our lar Shakespeare: Critical Theory and Popular Cinema (Madison world and, strikingly, it is built from the very text 2002), p. 70. that Luhrmann’s film is often criticized for disre- 6 Baz Luhrmann, Romeo + Juliet: The Music. William Shake- garding. speare’s Romeo + Juliet: Music Edition DVD (Twentieth Cen- 2006 Shakespearian citation informs every aspect tury Fox/Bazmark Inq.), . 7 Courtney Lehmann, Screen Adaptations: Shakespeare’s of Verona Beach. The humorous intertextual- Romeo and Juliet (London, 2010), p. 170. ity of the film’s production design – pistols 8 Monsted, e-mail correspondence. branded ‘sword’ and ‘rapier’, for example – is 9 Baz Luhrmann, William Shakespeare’s Romeo + Juliet: frequently glossed elsewhere, usually dismissed as Special Edition, DVD Commentary (Twentieth Century Fox/Bazmark Inq.), 2003. gimmickry. Rather, the intertextual development 10 William Shakespeare’s Romeo + Juliet,Dir.BazLuhrmann. of Verona Beach relies on audience collusion for Closed Captioning (DVD, Twentieth Century Fox/Bazmark interpretation of a complex network of visual and Inq., 2003/2006), 1996. 399 Downloaded from Shakespeare Survey Online by IP 142.150.190.39 on Mon Oct 21 19:27:36 WEST 2013. http://dx.doi.org/10.1017/SSO9781139170000.029 Shakespeare Survey Online © Cambridge University Press, 2013 TOBY MALONE Acloseexaminationoftheactors’facesrevealsthat created what production designer Catherine Mar- words are omitted from this gibberish. After some tin calls an ‘intense society around Romeo and analysis, it became clear that the boys in fact say: Juliet’ which reinforced the text within a world of 13 sampson: ‘contemporary myth’. Courtney Lehmann, wary Pedlar’s excrement! King Urinal! of the connection between ‘myth’ and the super- 14 sampson and gregory natural, defers instead to the legendary; regard- Go rot! less, these vernaculars highlight Verona Beach’s With this adjusted text, the lines remain nonsensi- Red Curtain-influenced heightened plane, in ‘a time and place caught between here-after and cal but they become direct citations. Luhrmann 15 recontextualizes Autolycus’s ‘Let me pocket up no-where, unidentified and identifiable’. Verona my pedlar’s excrement’ (Winter’s Tale, 4.4.713–14), Beach is a collection of pop-culture images which which signals interest in source, even for incidental invoke religion, consumerism and iconography, lines. To the same end, both the Host’s ‘Thou art headed by the presence of Shakespeare, in a a Castilian-King-urinal!’ (Merry Wives of Windsor, society which ‘not only most stridently adver- 2.3.31) and Leontes’s ‘Make that thy question, and tises itself as a product of global capitalism but also knowingly flaunts how that culture consumes go rot’ (Winter’s Tale, 1.2.326)arereincorporatedas 16 slang. Luhrmann appropriates and regroups these “Shakespeare”’. lines so that their primary meanings (if not original
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