Polanski’s struggling with the ghosts of his recent past, the spectre of Banquo is what dismays the advantageous Macbeth the most, and the blood-stained rooms and slaughtered families aren’t relegated to the shadows but shown in plain sight. No one’s going to make any speeches while clutching their chest, they’ll instead be mangled with maces, hung with chains, skewered, and beheaded. Remarkably faithful as it is cinematic, Polanski proves to be the most innovative revisionist since Welles’ famed trio of Shakespeare films. He employs wide angles, sweeping camera movements, contemporary score, and his penchant for ethereal authenticity and an understanding of the fantastic. What followed was a maelstrom of tabloid rags and false starts ( Downhill Racer, Papillon, The Day of the Dolphin) after the cataclysmic loss and media gossip, Polanski took his grief, anger, and turmoil and found solace in what would be one his masterpieces, as well as one of the best Shakespeare adaptations with his 1971 version of Macbeth. In 1969, Roman Polanski was in a tailspin of grief after the brutal slaying of his wife Sharon Tate and their unborn child.
Cameo: Screenwriter James Gunn appears as the father of the family whose car crashes, and director Lloyd Kaufman is credited as "Shocked Onlooker".BrotherSister Incest: Tromeo and Juliet as siblings at the end.B-Movie: A near necessity related to any Troma movie.Rather than committing suicide together because of a misunderstanding like in the play, Tromeo and Juliet suddenly find out they're actually siblings and drive off into the sunset to raise their mutant children.
Adaptational Alternate Ending: Played for Laughs at the end.
#Tromeo and juliet runtime license#
And, you know, with a little artistic license taken (it's a Troma movie, after all).