Tromeo and juliet full
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The extended close-up of a nipple being pierced, for example, does not serve any purpose other than to satisfy Kaufman’s love of the edgy. Most impressive, perhaps, is the scene in which Tyrone Capulet’s death interrupts a cheerful family outing to depict a darkly comical mise en abyme of Shakespeare’s plot: violence disrupts a domestic unit, and two young children are associated with death as they play with Tyrone’s severed head.Īll too frequently, however, any hint of meaningful grotesque realism is undermined by Kaufman’s childish descent into gross-out humour. Moments of disturbing horror such as this find their counterpoint in the occasional instances of romance viewers may be pleasantly surprised by the tenderness with which the softcore love scene between Tromeo and Juliet is shot.Įlsewhere in the film, the grotesque is used for comic effect: Tromeo evacuates his bowels noisily in the toilet as he arranges his clandestine marriage with Juliet over the phone Monty Que is defined by his flatulence every scene involving the police force is purely carnivalesque as they consume inexhaustible supplies of messy snack foods while interviewing witnesses. As a result, Kaufman manages to evoke genuine fear in his viewers – a tricky feat by the standards of even the greatest directors. Capulet looks as repulsive as anything else in the film: his language is foul, his face and potbelly drip with sweat, and his barely-concealed genitalia threaten to erupt onto the screen at any point. In this scene, the semi-naked Capulet (played with terrifying gusto by William Beckwith) locks and handcuffs his daughter in a Plexiglas cage. Some scenes that signpost Kaufman’s and Gunn’s fascination with body horror use the grotesque very effectively indeed, such as that which immediately precedes Cappy Capulet’s implied rape of Juliet. Kaufman leaves no orifice unexplored in his attempts to shock and entertain the viewer, with mixed results. At moments like this one is reminded uncomfortably of Gunn’s distasteful jokes on Twitter from 2008-12, for which he was recently sacked by Disney.Īs the film’s tagline implies, Tromeo and Juliet is a film crammed with bodies – bodies that mingle, interact and intertwine.
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Other changes are simply gratuitous and have little to do with the main plot Father Lawrence’s implied paedophilia, for example, is a tacky joke.
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In particular, Romeo’s obsession with love is parodied with hilarious results, while Lord Capulet’s abusive streak is taken to a horrific, incestuous extreme that makes for compelling viewing even while arousing disgust. To an extent, these updates keep the characters relatively consistent with those found in Shakespeare’s play. Juliet (Jane Jensen) and Tromeo (Will Keenan)Īll other changes are in keeping with the seedy modern-day environment: Prince Escalus is a greasy police detective Benvolio owns a tattoo parlour and Will Keenan’s gawky Tromeo masturbates in front of his computer. Thus it expands upon the “ancient grudge” of Shakespeare’s play in a believable manner – something rarely, if ever, attempted by more conventional productions of Romeo and Juliet. In this case, though, the romance occurs in the midst of a rivalry between two pornography barons, former partners turned bitter enemies. Set in late 90s “fair Manhattan”, Tromeo and Juliet adheres to Shakespeare’s central premise of forbidden love between the protagonists. However, viewers with the stomach to endure the unsavoury elements may find that Kaufman’s work contributes to discourse surrounding Romeo and Juliet in some surprisingly nuanced ways. On the surface then, one could be forgiven for thinking that Tromeo and Juliet has little to offer fans of either Shakespeare or good taste. Kaufman further alienates Shakespeare purists by giving his story a happy ending and resolving the feud between the two warring clans. The screenplay by Kaufman and James Gunn is replete with expletive-laden dialogue, gruesome violence and every kind of sexuality one could possibly imagine. In Tromeo and Juliet, director Lloyd Kaufman, Troma co-founder and the man responsible for such cult classics as The Toxic Avenger (1984) and Class of Nuke ‘Em High (1986), takes Shakespeare’s famous 1597 love story and turns it into a softcore schlock-horror-romance. The above tagline for Tromeo and Juliet neatly encapsulates the values of Troma Entertainment, the world’s longest-running independent film company.