But Luhrmann never loses sight of the core of the film: the oasis of innocence and romance that is Romeo and Juliet. The soundtrack is a knockout, running the gamut from Mozart to Garbage the music's rarely discreet while the sound effects are often deliberately inappropriate, emphasising the grotesque and unrealistic nature of Verona Beach and its inhabitants. Luhrmann uses jump cuts, slow-mo, fast-mo and macho, to create this chaotic world, in which the victims are innocence and true love.
But this is Luhrmann's film, the reigns are obviously in his hands, with remarkable help from the key Australian crew: cinematographer Don McAlpine, Jill Bilcock, editor extraordinaire, production designer Catherine Martin, and costume designer Kym Barrett. Pete Postlethwaite has an American accent as Father Laurence, the priest who helps the young lovers. There are standout performances from every member from of vibrant cast. Miriam Margolyes plays Juliet's nurse as a big-bottomed Italian mamma with lipstick on her teeth. It's where Romeo and Juliet meet, and fall in love instantly and forever. But it's Romeo's closest friend Mercutio (Harold Perrineau) who organises Romeo's attendance at the opulent soiree given by Juliet's parents – Gloria (Diane Venora is wonderfully grotesque in this role) and Fulgencio (an amply florid Paul Sorvino). After establishing the two warring sides of Verona Beach, the Montagues and the Capulets, we go to the streets and gang war between Juliet's cousin Tybalt (John Leguizamo) and his offsiders, and Romeo's friend Benvolio (Dash Mihok). Baz Luhrmann's confronting, exhilarating modern day version of Shakespeare's romantic tragedy blasts onto the screen with images of icons, guns and pop junk.
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