Luhrmann takes a different approach to this scene. Romeo runs, yelling, after Tybalt and starts another sword fight, this time resulting in Tybalt’s death. Romeo removes the cloth covering the gash in Mercutio’s chest, and reveals that he has died from Tybalt’s blow. It is only after he finally collapses that the others consider something is wrong. Mercutio continues to shout more curses on the two houses, resentful of the fact that their feud has essentially killed him. Romeo, thinking only of preventing a tragedy, inadvertently causes one. “I thought all for the best,” Romeo responds (Shakespeare 3. He whispers to Romeo privately that he was stabbed when Romeo came between them and asks why he did so. The others believe what he says and laugh as he curses the Capulets and the Montagues. However, as the scene progresses, he becomes more aware of his imminent death. Mercutio, perhaps hoping his wound isn’t very serious, plays it off as nothing more than a scratch. Mercutio replies, “Ay, ay, a scratch, a scratch” (Shakespeare 3. “What, art thou hurt?” Benvolio asks (Shakespeare 3. Mercutio acts as if he was hardly wounded. He appears concerned, but is quickly pulled away from the scene by his friends. Tybalt stabs Mercutio under Romeo’s arm and is surprised to see blood on the end of his sword when he pulls back. Still, Romeo attempts to intercept the fight, standing between them and holding back Mercutio. The two seem to be fighting playfully, without ill intent. Mercutio, appalled at Romeo’s passivity, instigates a sword fight with Tybalt. Tybalt challenges him, but Romeo refuses to draw his sword, instead taking Tybalt’s hand in his and shaking it earnestly. Romeo appears bounding happily towards them, as he has just come from his wedding to Juliet. Mercutio counters this by taking his own sword out of the water and pointing it at Tybalt. They banter jokingly, but some tension is created when Tybalt grabs his sword and holds it at his side. Tybalt then enters onto the scene with several others and approaches Mercutio, who is still in the fountain acting facetious (Zeffirelli). The two come across a small fountain, and Mercutio proceeds to jump in to cool off from the hot weather. This is ironic, because Mercutio is the one who more accurately fits this description. Mercutio accuses Benvolio of being quick to fight with others, even when there is no reason to. Mercutio, playfully angry, declares loudly how Benvolio picks fights with everyone: “Thou art like one of those fellows that, when he enters the confines of a tavern, claps me his sword upon the table and says ‘God send me no need of thee!’ and by the operation of the second cup draws him on the drawer, when indeed there is no need” (Shakespeare 3. In the beginning of the scene, Mercutio is taking a stroll with Benvolio, another friend of Romeo. His film is set in 14th century Verona, Italy, the original setting of the play. Zeffirelli took a traditional approach to his adaptation of Romeo and Juliet. Zeffirelli portrays Mercutio as easygoing and playful, whereas Luhrmann’s Mercutio is short-tempered and violent. A vengeful Romeo then seeks out Tybalt and kills him (Shakespeare 3. A fight ensues, resulting in Mercutio’s death (Shakespeare 3. In this scene Romeo’s friend, Mercutio, crosses paths with Tybalt, Juliet’s cousin (Shakespeare 3.
For example, the events of Act 3, Scene 1, of the play are included in both films, but how they are presented contrast greatly. Even though the plot and script are identical, each director’s vision for his film produces an individual, unique movie. Two movies that exemplify this are Franco Zeffirelli’s Romeo and Juliet (1968) and Baz Luhrmann’s Romeo + Juliet (1997). Many film adaptations of William Shakespeare’s classic tragedy of “star-crossed lovers” have been made, both in the original setting and more modern ones (Shakespeare Prologue.