Zeffirelli vs Luhrmann

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Romeo and Juliet films: Franco Zeffirelli vs. Baz Luhrmann
William Shakespeare’s play, Romeo, and Juliet is an excellent piece of literary work that has always attracted criticism and appreciation almost in equal measure. This author has taken this analysis into a specific and critical aspect of analyzing the effectiveness of the movie productions of Franco Zeffirelli’s (1968) vs. Baz Luhrmann’s (1996 ). The author introduces his approach in a manner that the reader gets a grasp of his purpose from the introductory paragraph. The author has a clear thesis (purpose) of analyzing the effectiveness portrayed by the film producers in translating Shakespeare’s play into visual art.
The author utilizes all the three rhetorical strategies; logos, ethos, and pathos. In the logos strategy, the author narrows down the reasoning through both a deductive and inductive approach. For example, the author has taken a deductive approach by stating a general flaw; the fact that visual representation of Shakespeare’s works is inconsistent with the primary purpose of Shakespeare-to appeal to the ear and not the eye. Further, he utilizes ethos by clearly establishing a common ground with the reader. To achieve this, the author states the opposing argument by Shakespeare purists that are against the filming of Shakespeare and later proceeds to show Zeffirelli and Luhrmann’s have succeeded to counter the inefficiency of cutting on the text.
This author is precise in presenting evidence and arguments in chronological order.

For instance, the author explains 1936 choice of Leslie Howard, 46 (Romeo) and Norman Shearer, 36 (Juliet). The author compares the roles of this experienced actors to that of Zeffirelli’s Olivia Hussey, 15 (Juliet) and Leonard Whiting, 17 (Romeo) (Walker, 132). Thus this comparison aids the reader to figure out how the youthful actors assist Zeffirelli to deliver the theme of extreme innocence and youthful age. Also, the author is efficient in using pathos strategy by citing the relevance of the setting of the two movies. The author has identified with his 21st Century digital audience by referring to box-office movie ratings. The writer has also clearly identified the connection of the two movies to the literary movements of their period. He identifies that Zeffirelli’s movie setting is consistent with the 1960 anti-Vietnam war protests while in Luhrmann’s movie depicts the 1990’s youthful culture with scenes of a news anchor and TV presentation (welsh, 152).
Indeed, this writer is proficient and consistent with the use of the rhetorical strategies. His choice of words such as ‘utter silliness’ ‘teens’ and innocence’ bring out a connection between the reader and the intended purpose. Furthermore, the writer makes a good conclusion that reinstates his goal of convincing the reader that Zeffirelli’s and Luhrmann’s visual arts are successful in arousing the admiration of Shakespeare’s work in this generation.
Works cited
Welsh, Jim. “Postmodern Shakespeare: Strictly Romeo.” Literature/Film Quarterly 25.2 (1997): 152.
Walker, Elsie. “Pop Goes the Shakespeare: Baz Luhrmann’s William Shakespeare’s Romeo+ Juliet.” Literature/Film Quarterly 28.2 (2000): 132.