Film Review: Romeo and Juliet (1968)

The late 1960s were a period of seismic upheaval in Western society, marked by protests, political unrest, and a radical reimagining of cultural norms. The civil rights movement, the Vietnam War, and the rise of youth counterculture destabilised traditional institutions and values, leaving even the pillars of Western heritage vulnerable to scrutiny and reinterpretation. Shakespeare, the archetypal figure of literary tradition, was not immune to this turbulence. His Romeo and Juliet, a play synonymous with tragic romance and youthful idealism, became a vessel for contemporary anxieties and aspirations. Franco Zeffirelli’s 1968 film adaptation, which transposed the story to its original medieval Italian setting, captured the spirit of its time while transcending it, cementing its status as a defining cinematic interpretation of the Bard’s work.

Unlike many 20th-century adaptations of Shakespeare, which sought to modernise or stylise the text to appeal to contemporary tastes, Zeffirelli’s approach was rooted in authenticity. While works like West Side Story (1961) and Baz Luhrmann’s Romeo + Juliet (1996) used modern settings or hyper-stylised visuals to bridge the gap between Shakespeare’s language and a sceptical audience, Zeffirelli drew inspiration from Laurence Olivier’s Henry V (1944), a film that embraced the play’s historical context. By situating the narrative in medieval Italy, Zeffirelli anchored the story in the political and social realities that underpinned Shakespeare’s original vision. The feud between the Montagues and Capulets is framed as part of the broader conflict between the Guelphs and Ghibellines, factions that dominated Italian politics during the Middle Ages. These historical roots lend the film a tangible weight, transforming the lovers’ tragedy from a metaphorical tale of star-crossed romance into a visceral exploration of how personal desires clash with the rigid structures of power and tradition. The families’ origins in Dante’s Purgatorio further underscore their mythic quality, positioning them as symbols of eternal human folly.

The plot unfolds with the same inevitability as Shakespeare’s play. In Verona, a city teetering between vibrancy and violence, the Montagues and Capulets’ feud spills into the streets, prompting the Prince (John Stephens) to threaten dire consequences for anyone who fuels the conflict. Romeo, a brooding teenager played by Leonard Whiting, attends a Capulet masquerade ball, where he encounters Juliet (Olivia Hussey), the daughter of his family’s enemies. Their instant infatuation, marked by poetic dialogue and charged with sexual tension, sets in motion a chain of events that spirals into tragedy. The intervention of Friar Laurence (Milo O’Shea), who orchestrates their secret marriage, offers fleeting hope, but Mercutio’s (John McEnnerry) death at Tybalt’s (Michael York) hands triggers Romeo’s fatal vengeance and banishment. Juliet’s forced betrothal to Paris (Roberto Bisacco) and the Friar’s desperate ruse to fake her death—compounded by Romeo’s ignorance of the plan—culminates in the play’s heart-wrenching climax. Zeffirelli condenses Shakespeare’s text by nearly half, a decision born from his belief that film’s visual language could convey narrative and emotion more efficiently than lengthy soliloquies. Scenes that might have required exposition on stage—such as the lovers’ clandestine marriage—gain immediacy through close-ups and spatial intimacy, allowing the audience to inhabit the characters’ emotional states without the need for verbal explanation.

Zeffirelli’s commitment to authenticity extended to production design and location shooting. With backing from producer Dino De Laurentiis, the film was shot in authentic medieval Italian settings. Costume designer Danilo Donati and cinematographer Pasquale De Santis won Oscars for their efforts, crafting a visual palette that blended historical accuracy with a dreamlike grandeur. The film’s violence feels raw and spontaneous, erupting from casual insults into bloodshed with unsettling naturalism. This physicality is heightened by the actors’ performances, particularly Michael York’s Tybalt—a role that established him as a screen villain—and Peter McEnery’s Mercutio, whose witty banter and tragic death are rendered with palpable humanity. McEnery’s ailing health during filming lent an unintentional fragility to his portrayal, deepening the pathos of his demise.

The soundtrack by Nino Rota amplifies the film’s emotional resonance, with a haunting melody that underscores the lovers’ doomed passion. The song “What is a Youth,” derived from the score, became a pop hit, bridging the film’s classical roots with the musical tastes of its target audience. This synthesis of Shakespearean drama and 1960s sensibilities was central to the film’s popularity. Perhaps its most radical choice was casting actors whose ages mirrored those of the characters: Whiting, 17, and Hussey, 15, brought a raw, unfiltered authenticity to their roles. Their performances, bolstered by an off-screen romance, captured the hormonal urgency and emotional volatility of teenagers navigating first love and societal expectations. This choice resonated deeply with 1960s youth, who saw in Romeo and Juliet’s rebellion against parental authority a reflection of their own battles against the establishment. The film’s condemnation of senseless factional violence—evident in the Montagues’ and Capulets’ petty squabbles—also found relevance in an era of global political strife, from the Vietnam War to student protests.

However, Zeffirelli’s emphasis on authenticity carried unintended consequences. The film’s depiction of the lovers’ sexuality, including brief nudity, was more explicit than typical for its time, particularly in Whiting’s scenes. While praised for its honesty, this decision later led to controversy. In 2023, Whiting and Hussey filed a lawsuit alleging that the nude scenes were filmed without their informed consent, citing their minor status and Zeffirelli’s alleged manipulation. Though the case was dismissed, it cast a shadow over the film’s legacy. Critics have since debated whether Zeffirelli’s choices were artistically justified or exploitative, complicating the film’s reputation.

Despite these controversies, Zeffirelli’s Romeo and Juliet is as a masterful adaptation. By stripping away modernist flourishes and focusing on the play’s core themes—love, impulsivity, and the destructive weight of tradition—he created a version that speaks to both its historical context and universal human truths. The film’s ability to balance Shakespeare’s language with visceral storytelling, coupled with its casting and production values, ensures its place in the pantheon of great cinematic adaptations.

RATING: 8/10 (+++)

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