get-down-make-love

anyway more get down stuff. like baz luhrmann has always had like a really distinct visual vocabulary that comes in all his work - contrast and slow motion and garishness and Christ imagery in run down urban environments intercut with chaotic colors and visual spectacle - but imho tgd has the strongest hangover of r&j. I think I’ve talked about how well the cinematography works for r&j, but part of it is because it can help translate the context of a shakesperean play into a dynamic we can understand. like it’s de-mythologizing it into the everyday ribbing and banter of a bunch of teens, making the absolute conviction of their emotions relatable. but w/ tgd it’s the exact opposite - ur still dependent on the environment for context, but now it’s the reverse. ur watching these teens whose lives are eminently relatable mythologizing themselves in order to like. exceed their environment. they’re notorious, they’re from outer space, they’re Persian poets and Madonnas and players. it’s the same thing in essence but they are creating the legend around themselves in a way that’s different from how r&j’s legend came from the actions of fate and destiny, but with both stories it’s about denying expectations. making room for different things in the story, defying the power of violence and death and the restriction of culture and family