Ah, I have to say that Shakespeare's plays become very absurd once they leave the seriousness and sublime brought about by the sense of distance. It may be a pioneering experiment, but it's hardly a successful adaptation. There are still traces of version 68 in many places in the film. Personally, I think that if you really want to go with postmodernist adaptation, you might as well change it more thoroughly. It is really illogical to move many elements to modern and contemporary America. Meiyin sounds too much of a drama to me. In contrast, I can probably understand the tragedy of Roju, not so much the death of love at the end, it may be said that the tragic climax occurred when Romeo killed Tilbert. I thought it was the heroism, the sense of honor, etc. in the Western drama tradition that forced Romeo to kill Tilbert, which led to the irreconcilable tragedy. On this point, Luo Zhu's performance in the 68 version was really good, but in this version, it can only be said that he was impulsive. It may be more plausible, but the artistic grandeur of Shakespeare's tragedy is gone. It's almost impossible to have both. And why are both versions of Mercutio's long monologues this ecstatically tragically lyrical interpretation? I read it with the feeling of being a joking carnival. It made me feel like Mercutio had some special affection for Romeo that I didn't read. In the end, Xiao Li is really handsome, so handsome, I can do it, I can do it, I can do it. This version of Benvolio and Balthazar are also available.
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