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celebrating films of the 1960s & 1970s zeffirelli's "romeo and juliet" still shines at 50 by joe elliott this year marks the fiftieth anniversary of the release of franco zeffirelli’s romeo and juliet . the movie was a sensation when it came out in 1968, spurring ticket sales in the millions and becoming one of the top-grossing features of the decade. one reason the film made so much money was due to the number of people who returned for a second or even fifth viewing. it seemed audiences just couldn’t get enough of the story about those two star-crossed adolescent lovers from old verona. the movie’s memorable music score, composed by nino rota, also became a best seller. the album quickly went gold and was later repackaged in a beautiful deluxe box set that included the entire movie soundtrack, along with two handsomely produced companion booklets. there was something about the film, for all its shortcomings, that many found almost hypnotic. i’ll fess up and admit i was one of these people. i didn’t actually see it until the 1970s when it was still being trotted out in theaters in order to squeeze out extra profits for the studio. i was a teenager at the time and was more into flicks like billy jack and the bond films than stories about people who lived hundreds of years ago and spoke in rhyming couplets. the only shakespeare i had read was in class, the substance of which i found nearly indigestible. i did know something about the movie since one my english teachers had once played a portion of the soundtrack for us in class. however, apparently not having much else to do that summer evening, i decided to take a stroll down the street to our local movie palace and buy a ticket. the first thing i noticed about the film was how rich in color it was. from the very beginning, following the smoky prologue spoken by laurence olivier, everything is drenched in bright primary colors. things got off to a rousing start with the scene of the bloody brawl in the verona marketplace between those two wild and crazy families, the montagues and the capulets. (i hadn’t realized until then that it was possible to be a real badass and still wear red and yellow striped tights with pointy soft leather shoes.) soon the cops arrive (the prince and his soldiers) to break up the fracas and issue a stern warning to all those who would disturb the civil peace in the future. immediately following this we get our first look at romeo (leonard whiting), a handsome love-sick youth with a shaggy haircut. he talks dreamily of some girl he’s got a crush on, but then comes to his senses at seeing one of the wounded being carried away. meanwhile, back at the capulet palace, juliet’s father ( paul hardwick) is coyly negotiating the marriage of his daughter to a young man named count paris ( roberto bisacco) . the first time we see juliet (olivia hussey) she’s running through the house like a kid at play. all this is interspersed between scenes of juliet and her bawdy, fun-loving nurse (pat heywood) talking to the girl’s mother lady capulet ( natasha parry ) about marriage and things, immediately followed by a night scene of romeo and his friends on a soliquious pub crawl through the deserted streets of verona. later that same evening romeo and his mates crash the capulet masquerade ball. the ball scene is among the highlights of the film. it is here zeffirelli really shows his stuff, combining visual pageantry with an almost obsessive attention to detail. everything about this sequence is highly choreographed, from the beautifully composed dance scenes (“the moresca!”) right down to the fastidious arrangement of the candles and platters of fruit (zeffirelli had studied art and architecture in his student days ). absolutely nothing is left to chance. in the hands of a less gifted visual director, and zeffirelli was nothing if he wasn’t visual, all of this might have come off as too showy and distracting. however, here the effect is just the opposite. the viewer almost feels as if he or she is present in the scene, seductively pulled in as we are by the sensuous whirl of warm colors, voices and melodious music. all of it lovingly captured by the gifted eye of cinematographer pasqualino de santi who was awarded an oscar for his efforts on the project. clearly, the ocular accoutrements of this particular production are as essential to its success as the words of shakespeare himself. normal 0 false false false en-us x-none x-none continue reading "zeffirelli's "romeo and juliet" still shines at 50" posted by in film reviews & essays on tuesday, august 14. 2018 -- -- out of the past: jill ireland and charles bronson on the set of "breakout", 1975 real-life husband and wife charles bronson and jill ireland made numerous films together. among them: "breakout", a 1975 film that was shot quickly in order to capitalize on bronson's soaring popularity with "death wish". the crime thriller was lambasted by critics but performed very well indeed at the boxoffice. click here for review. posted by in vintage movie photos on tuesday, august 14. 2018 -- -- review: "genghis khan" (1965) starring omar sharif; twilight time blu-ray release by lee pfeiffer twilight time has released the 1965 action adventure film "genghis khan" as a limited edition (3,000) blu-ray. the film was released almost ten years after howard hughes produced the notorious clinker "the conqueror" starring john wayne as the legendary mongol leader. a decade later, producer irving allen ensured he did not make the mistake of laughably miscasting the leading man. omar sharif, then a red-hot up-and-coming star, was cast in the title role, and while an egyptian actor might not seem to be an obvious choice, sharif possessed an exotic international appeal that saw him convincingly play characters of many different ethnic backgrounds. ironically, while allen had successfully hired a leading man, his judgment did not extend to the key supporting roles. if you want to enjoy "genghis khan", there are many positive aspects to the film- but you will have to overlook some jaw-dropping casting errors. that feat is a bit like trying to calmly peruse a newspaper in your living room while ignoring the 800-pound gorilla who is sitting across from you, but more about that later. the film opens with a brutal raid on the tribal home of the young mongol temujin and his family. the raid is led by a rival mongol tribe headed by the merciless jamuga (stephen boyd), who murders temujin's father and enslaves the women of the tribe. the story then jumps ahead a number of years and we find temujin (omar sharif) has now grown to manhood and is still a captive of jamuga. he's forced to wear a giant wooden yoke around his neck as a reminder of his humiliation. ultimately, temujin escapes captivity with the help of holy man geen (michael hordern) and a mute mongol warrior named sengal (woody strode.), much to the chagrin of the infuriated jamuga. temujin vows to bring the warring mongol tribes together so that they can form an unstoppable army capable of conquering the known world. how he achieves this is never shown but before long we see he has indeed amassed a devoted army intent on uniting the remaining mongol tribes, one of which is headed by jamuga.one of temujin's obsessions is to humiliate jamuga, which he does by kidnapping his woman, bortei (francoise dorleac), who he then makes his own wife. as played by the gorgeous but ill-fated dorleac (she died in a car crash in 1967), bortei sports a modern hair style and the latest trends in makeup. she's a mongol by way of the emerging mod scene on carnaby street. dorleac is miscast but at least her performance isn't embarrassing. the same cannot be said of some of her otherwise revered cast members. since the film is designed to entertain, not enlighten, we are presented with a truncated historical record of temujin's conquests. in short order, he and his army become feared as they relentlessly conquer see

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Domain Name: CINEMARETRO.COM
Registry Domain ID: 113003378_DOMAIN_COM-VRSN
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Updated Date: 2017-03-06T14:22:28Z
Creation Date: 2004-03-02T00:31:29Z
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