Alvin Rakoff - Romeo & Juliet (1978)

In 1978, the BBC set itself the task of filming all of William Shakespeare's plays for television. The resulting productions, renowed for their loyalty to the text, utilised the best theatrical and television directors and brought great performances from leading contemporary actors.

Two households, both alike in dignity, in fair Verona where we lay our scene, from ancient grudge break to new mutiny where civil blood makes civil hands unclean. From forth the fatal loins of these two foes a pair of star-cross'd lovers take their life whose misadventur'd piteous overthrows doth with their death bury their parents' strife.

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This stage-like presentation was the first version of Romeo and Juliet that worked for me. I'm happy to say that I've seen many more live and cinematic versions over the years and found a good many that have the right elements, but in 1978, this was a revelation.

Certainly, it is far from a perfect adaptation. Shot as a stage play, almost no use is made of the advantages of film. The sets are claustrophobic, the camera work simplistic, and the music repetitive. The fight scenes, which would be barely acceptable in a live performance, are embarrassing. It is also a very standard adaptation. Everything has been done many times before. There are no new insights into why the characters do what they do, and most of Shakespeare's bawdier lines are recited as if they are normal conversation (a common flaw—making Shakespeare socially proper).

Additionally, Ryecart is an unexciting Romeo, demonstrating none of the passion the part requires. He is also too old.

But with all that, it still works, due to a few fine casting choices. John Gielgud is always welcome, even in so small a roll as the Chorus, and Michael Hordern, who specialized in confused characters who somehow retain their dignity, gives depth to Capulet. Alan Rickman (who has impressed me over and over in such films as Die Hard, Robin Hood: Prince of Thieves, Dogma, and Galaxy Quest) is an intense and wonderfully oily Tybalt. I can't think of any other performance that made me so gleeful at Tybalt's death. Then there is Anthony Andrews as Mercutio. Mercutio is a difficult role that almost no one gets right. He should be slightly manic, the quirky high school/college clown with something to prove, but too often he just comes off as a nut. Andrews walks the line and succeeds in making him likable if still exasperating.

But successful secondary performances, no matter how superb, can't make Romeo and Juliet sing. It is Rebecca Saire who does that. Age appropriate, she imbues Juliet with innocence, intelligence, a desire to please, and passion. She makes Juliet what she needs to be, a near-fourteen year old girl. The party scene is the best I've seen (well, her part of it anyway) as Juliet cautiously flirts with Romeo. She swept me into the tragedy.

A good cast can overcome all flaws in a production of Romeo and Juliet (and any Shakespearian play). With a better Romeo, this would be the definitive version.





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no pass