In the post-modern passion version, it sounds like a copycat in it. But I really love this gorgeous version, not just because of the young Leo. I only know a little about Bazruhmann's movies. However, that gorgeous color is undoubtedly the most vivid impression he left on me. It's like knocking over the color palette, blending the story into a very strong flavor, and it is straight to all your senses. But no matter how strong the color is, it can't hide the cruelty of fate and the pain of the skin. Chaos and madness, prosperity and restlessness, came surging, like Sauron's walking dead army, black pressure forced into the sky of Verona. Look at the raging waves rolling in frost and snow, the sky is boundless, the overblown hatred and anger, the inevitable destruction of heat and vanity is in front of your eyes. Pain and numbness go hand in hand, and the priest taught to the children tells the truth about this story. The church is the crucified Jesus. He exists between the opposing Capulet and Montague, overlooking the hustle and bustle of Verona, bearing all the sins and sufferings, accepting every prayer, and forgiving every confession. The ubiquitous angels and the Virgin have become familiar and even ignorable decorations. The dark-skinned friends call the end and a new era with the singing of trembling souls. R&J is like two pure elves wandering in the dark night, with their simple Love washed away the pits of sin and blood in Verona. Leo's distressing little face was full of desperate tears. Juliet raised her head to stare at God's or cursible fate. She pulled the trigger to complete the last resistance of her life.
View more about Romeo + Juliet reviews
