Instead of making us watch Romeo & Juliet in English class, make us watch 13 Reasons Why. Make us break it down. Teach us to understand the seriousness of mental health. Teach us not to be dicks. Teach us that it’s not okay to make rude jokes towards each other, whether you’re best friends or not. Teach us that the phrase ‘sticks and stone may break my bones, but words will never hurt me’ is bullshit. Teach to be kind. Teach us to be caring. Teach us to be nice. Teach us to love. Teach us to respect each other and each other’s privacy. Teach us to respect ourselves. Teach us life lessons. Because they will a lot more useful in the future than knowing why Shakespeare used these certain words for this certain paragraph in this certain story. Would have helped me a lot.
Oh, sleepovers. Nothing is better than spending a night with your bestfriends overdosing on junk food, laying around in your most comfortable and embarrassing pajamas and watching five movies in a row. Sleepovers can either be extremely relaxing or hard to recover from, but they are so funny and irreplaceable that I personally think there should be an international Sleepover Night.
Movies, obviously, are a must-be according to the Sleepover Bible (made up by me right now), but sometimes it can be hard to choose what to watch. I guess one of the best ways to decide is having a marathon or establishing a theme: you can watch the whole Harry Potter/Pirates of the Caribbean/Star Wars saga, go for a tv series like Friends or Grey’s Anatomy or follow a fil rouge that links together a few films.
What I’m proposing you today is one of my favourite themes: teen movies from 1990 to 2000. Beside being extremely funny and unmissable if you are a movie amateur, they definitely left a mark in the filmmaking history, defining a generation not so far in time from ours. They can also teach you something about style or pop culture, so you have no excuses left not to watch them!
People worshipped them and cursed them, but everybody wanted to be them .
In Jawbreaker you have all the ingredients for a classic teen movie: a high school, a popular and mean clique of Queen Bees, a kind-hearted girl loved by everyone, a prom, hot guys - with the only exception that this is not a classic teen movie.
Jawbreaker is a dark comedy and (surprise!) it involves a kidnapping, a death and police investigations. Written and directed by David Stein, the movie revolves around the “Flawless Four” of Reagan High School, Los Angeles: Courtney Shayne, Marcie Fox, Julie Freeman and Elizabeth Purr. They all rule the school with a terror regime, except for Liz. She is not as mean as her friends and makes no differences in relating with others - her beauty and honesty, then, make her the most loved and admired girl.
Obviously, this generates jealousy in Courtney, Marcie and Julie, who decide to prank their friend on seventeenth birthday, by performing a fake kidnapping. They take her off guard early in the morning, binding her with ropes and pushing a jawbreaker candy into her mouth. The girls lock Elizabeth in the trunk of a car and drive towards the mall to celebrate their friend’s brithday with breakfast. However, once they open the trunk, the sight is definitely not what they expected it to be…
Jawbreaker is worth watching not only for the twisted, surprising plot and the iconic (and definitely realistic) language used by the girls, but also because it explores the dynamics of a group of girls with the voice of an outsider, Fern Mayo, who finds herself involved in the events against her will. This movie is gonna make you laugh, startle and maybe regret not living in 1999.
Cruel Intentions (1999)
In the game of seduction there’s only one rule: never fall in love.
Drugs, sex, a hot step-brother, games of seduction, classy and total black outfits, rich mansions. If you like this list, Cruel Intentions is the perfect movie for you. Beside having an incredibly attractive cast, a young Reese Witherspoon included, its plot twists the usual “mean clique” dynamics.
Set in a wealthy Manhattan, the film is about an oddly assorted couple: Sebastian Valmont and his step-sister Kathryn Merteuil. He’s well known for his countless sexual conquers and seductive manners, which perfectly match Kathryn’s inner wickedness and malice - but they always both manage to get away with it thanks to their fascinating looks and charming attitudes.
The tight relationship between the two not only sees them accomplices in many misdeeds, but also gives rise to explicit sexual innuendos, as Sebastian’s not-so-secret fantasy is to sleep with Kathryn. Despite wishing the same, the girl likes to play it hard to get, so she decides to set up a bet: if Sebastian will be able to seduce Annette Hargrove, Kathryn will have sex with him - otherwise, she’ll get his vintage Jaguar. It’s not as easy as it seems: Annette is the daughter of their school’s headmaster and has recently written an article on saving her virginity for marriage.
As the time goes by and the relationship with Annette develops, Sebastian will find his controversial morals hardly tested. He’ll also have to manage the seduction of the young and naive Cecile, the new girlfriend of Kathryn’s ex, and he’ll be soon torn between his usual lifestyle and a wager maybe too hard to win, even for his unbeaten ego.
Cruel Intentions is weird, explicit, somehow shocking. It points out the differences between boys and girls as it comes to sex, providing a few interesting reflections under a chic, witty and dark atmosphere. Kathryn’s outfits are ICONIC and the movie will make you want more - and you’re lucky, because there are a prequel and a sequel.
Dear diary, I’m more fabulous than five minutes ago.
I don’t even know how to start with this and if you’ve never seen Clueless before… oh my gosh, you can’t imagine what you’ve missed. This movie is p-e-r-f-e-c-t!
Yes, we have a Queen Bee, Cher, with her sidekick Dionne. And yes, she’s vain and superficial. But she is funny, gorgeous, good natured, harmless and extremely relatable. You could easily make any quote from her character yours, really. She’s crazy wealthy and lives in a mansion in Beverly Hills, obviously being the most popular girl at school.
The movie explores Cher’s life and her attempts at making “good deeds”, showing how her attitude is more innocent than biased. She decides to give Tai Frasier, a “tragically unhip” girl, a makeover aimed at initiating her into the popular universe of their high school; she tries to act as cupid and match two professors (also to raise her grades); all of this, just for the sake of “giving back to the community”.
Cher’s hilarious adventures continue as she finds herself facing a new, attractive boy at school, her annoying stepbrother, the driving license exam and other teenage things we’ve all been through. I loved this movie because she’s fierce and self confident in a positive way, for once - and I won’t even mention the outfits of almost every character, which I’ve seen more than once reinterpreted in the latest collections of many fashion brands. And let me add that Alicia Silverstone’s facial expressions are the best thing in the world… In a few words: watch it. You won’t absolutely regret it.
The Craft (1996)
“You girls watch out for those weirdos” - “We are the weirdos, mister”
Everyone loves a bit of magic. Candles, chanting odd words, summoning the supernatural, meeting in the middle of the night - all things you probably don’t do but that still sound fascinating and attractive, especially if you are a young girl with a mysterious past in a new school where you know no one.
This is how it goes for Sarah Bailey once she arrives to the catholic academy of St. Benedict, Los Angeles. A group of outcasts, with difficult, gloomy lives and
rumored to be practicing witchcraft, notices that Sarah is not as normal as she seems, thus luring her into joining their coven. The powers of the four girls reach a whole new level as they try to fix their messy lives and make up for any wrong that had been unfairly done to them.
However, nothing is easy when it comes to unearthly powers - the group will face difficult personal struggles and they will soon understand that everything comes with a price.
This thriller will open your eyes on the hard life of social rejects in a surreal way, making you think twice before exposing someone not as lucky as you - you never know what may be their revenge. I loved The Craft because it explores a different side of the world depicted in the movies listed above - it gives voice to the unheard and shows things from a different point of view.
10 Things I Hate About You (1999)
But mostly, I hate the way I don’t hate you, not even close.
Sisters can be so different. Take Bianca and Kat Stratford, for example. One is popular, beautiful, admired and elegant, the other is a smart, casual, ironic bookworm. Cameron James (and adorable Joseph Gordon-Levitt) is head over heels for Bianca as soon as he sees her, but he’s warned by a friend that the girl’s father doesn’t allow her to date anyone. This doesn’t only upset Cameron, but Bianca as well - that’s why before the prom she quarrels with her dad until he agrees on letting her go at one condition: Kat has to find a boyfriend and go to the prom, too, causing Bianca to become furious since her sister will never want to be with someone.
Cameron finds out about the new rule and decides to find a boy who will date Kat, so then he’ll be able to go out with Bianca. The mission seems impossible, but of course we have Heath Ledger, in the role of Patrick Verona, who once again becomes the hero and (obviously with a heavy salary) agrees on trying.
Will the mission stay professional? Will Kat resist to Patrick’s charm or will she be trapped by the good-looking outcast as bitter as she is? Will Bianca go to prom with Cameron? You need to watch the movie to find out. This is one of my favourite ones, I’ve seen it at least three times and it’s just great - I always like watching the development of a romantic relationship, because each one is different from the other. And the singing scene on the bleachers? Iconic.
Do I even have to say something?? I mean, Leo DiCaprio, Shakespeare’s most known masterpiece, love and death, Baz Luhrmann. This is enough, isn’t it?
Romeo + Juliet is the modernized and adapted version of the famous, tragic love story. It’s visionary, surreal, heartbreaking and it should be seen at least once a week because it’s just too much. It is set in a imaginary Verona Beach, where the adventures and deeds of two families in war intertwine with the forbidden love affair of a young boy and girl. The plot follows Shakespeare’s script, but you won’t find swords or horses. Guns and sportscars, gas stations and a swimming pool are just a few of the innovative twists Luhrmann has used in this dreamy and loud film.
What about you? What are your favourite 90ies/sleepover movies? Let us know by commenting this post, the Facebook page or sending an ask! x
prompt: more of even thinking his boyfriend is the funniest/cutest person ever whenever he does anything honestly (see as reference: even's look directed at isak before proceeding to kiss him in disbelief/amazement after the whole "your mother pays me 500 a week no wonder she wants to meet me thing"
Sometimes - most of the time - the way Even looks at Isak still overwhelms him. Isak always shoves his gross feet into Even’s lap whenever he’s cold. Even will complain about how high maintenance he is, but he’ll massage Isak’s feet with a grin. Isak will make some bad joke about atoms and hydrogen bonding that falls flat with the rest of the guys, but Even will still kiss him, even if the rest of their friends have started mental lists of “reasons why Isak isn’t funny and shouldn’t be allowed to try.” Isak will try to rap along to whatever NAS song is playing at the time, and he knows his rapping is subpar at best, but Even gets this dopey look on his face like I chose you, dorkiness and all.
It’s a lot of pressure to handle, especially when it feels like he should be more, the way Even is. Even can pull off ten layers of clothes in all of his hipster glory, even if, by all accounts, he should look like a very sad burrito. Even knows all the best songs, the most artsy movies, and when he gets excited, Isak can hardly keep up. Even’s friends are actually popular, and it’s not fair, because Even’s just transferred to Nissen. Isak’s pretty sure he caught Magnus eating M&M’s off the floor the other day. There’s no parallel universe where his friends are actually cool.
Jughead ripped through red lights faster than even the most lenient traffic laws allowed, something was wrong. Something was very wrong, and he felt his chest getting tighter the closer Pops came into his view.
The cause of his absolute panic? That would be The text message from Archie currently open on his cellphone, thrown lazily on the passenger seat of Fred’s oldest Pick up truck.
“I’m at Pops with Veronica, she’s a mess. It’s Betty. She’s gone.”
Gone? Gone where? What did that mean? Why wasn’t she answering her phone? And why the hell didn’t he walk her home from school today?!
Betty and Jughead had gotten into an argument earlier that day, an angry, heated, vicious argument, each of their insecurities bubbling up to the surface as they spewed nasty words and said things they were sure to regret. Jughead had skipped walking her home after school, sending Veronica instead. Betty was tense and distant from the morning all the way up to their blowout, when he asked her about her behavior she brushed him off, maybe he should have kept his cool but he hated that she was keeping things from him, needless to say the fight didn’t end well and he had gone off on his own, leaving Betty standing alone, crying in the blue and gold office.
Pulling crookedly into a parking spot in front of Pop Tate’s, Jughead jumped out of the car and ran into the restaurant spotting Veronica crying as Archie had an arm around her consoling her, he practically hopped over the booth
“Where is she? What happened?” He demanded, eyeing the raven haired mess.
“I tried to stop her. I did everything I could, she just lost it. She wouldn’t stop crying, she just kept saying “I’m crazy too, I’m just like Polly”. She was ripping her hands open.. she’s got these scars.. Jughead I did everything I could.“ She whispered through a sob as Archie wrapped her in his arms.
"Where is she?! What do you mean "gone” gone where?! You have to tell me more, I don’t understand” he shouted frustrated, his hands slamming on the table.
Archie could sense his friends mood shifting and spoke in low hushed tones
“Ronnie said she’s having herself admitted, something about the same place as Polly. Dude.. polly.. Polly tried to kill herself last night, Betty found her downing pills in the bathroom, Betty thinks she’s crazy just like Polly she doesn’t want to get worse.” Archie cleared his throat, his brown eyes rimmed with unshed tears, sometimes Jughead forgot that Archie was Betty’s true best friend, he had been there before Veronica, before Kevin, even before Jughead.
“I’ve gotta stop her.” Jughead whispered “I’ve gotta stop her before it’s too late, those people at the Institution? They’ll ruin her. she’s not crazy. You know she’s not crazy.” He looked desperately to his friends who were all nodding
“She’s not crazy, she’s just hurting. She’s overwhelmed, she needs support not a nuthouse” Veronica sniffled
Jughead nodded to his friends as he rose from the booth.
“I’m not letting her drown, not without me.” He declared before running off to the truck and speeding off to Betty’s.
As he raced the streets of Riverdale, time seemed to be nothing but an illusion, he was in front of Betty’s house and slamming on her front door before he even knew he had turned on the ignition.
Alice Cooper opened the door and caught sight of Jughead, her red rimmed eyes and frazzled hair stuck out painfully as she visibly relaxed at the sight of Jughead. She knew her daughters boyfriend was the only one who could talk some sense into her broken daughter.
“Thankgod.” She mumbled “upstairs Jughead” she moved aside, watching him sprint up the stairs “our fair Romeo, off to save Princess Juliet” she whispered, the first hint of a smile she had seen in days resting on her face.
Jughead felt his muscles tighten, as he stood before her door. What was he supposed to say? I’m sorry for not being there? I’m sorry I left you like that? I sorry I couldn’t see that you were hurting, that you needed me?
His anxiety ridden thoughts were quickly cut short as Betty’s bedroom door ripped open revealing the beautiful blonde. Betty’s cheeks were covered in smudges of blood, he assumed from wiping her tears with bloody hands, her ponytail was half down, strands sticking to her damp face, the buttoned blouse she wore was missing a button and her hands were shaking, but god damnit if she still wasn’t the most beautiful thing he had ever seen.
“Bets.” He whispered
At the sound of his voice, something shifted in Betty’s eyes as she fell against her boyfriend in a pile of chest aching sobs, her hands running all over him almost to ensure that he was real, he knew she was getting blood on his cheeks but that was okay, it was a part of her, a vulnerable, open, heartbreaking piece of his perfectly imperfect girlfriend.
After about thirty minutes of holding her as she wept, her breathing finally slowed and she looked up at him exhausted, her fingers moving to wipe at the blood she had left on his cheek, before flipping her own palm to stare ashamed at what she had done. Jughead shook his head and whispered “no” before bringing her open palm up to his lips and kissing her scars gently.
He heard Betty sigh as she leaned against his shoulder, he had to tell her, he needed her to know, there was so much he could say to her but he settled for
“We’re all crazy”
Those same words he had uttered almost four months ago, relaxing when he felt her smile into his shoulder
Alright, so the soundtrack is definitely v important part of this so I put the it together. Obviously I could’ve missed something or gotten something wrong so please message me if I should fix/add something!!
Sandra Lyng - Liqr (the beginning of the episode - the party)
Pieces Of Juno - Silver & Gold (Isak and Emma kissing in the bathroom)
Datsik - Smoke Bomb (plays when Isak comes downstairs)
Desiigner - Panda (Isak leaving the party)
N.W.A. - Fuck Tha Police
Kjartan Lauritzen - Fredag (showing the city on Friday evering + Isak at kosegruppe meeting)
The Magnetic Fields - Three-Way (credits)
Wu-Tang Clan - C.R.E.A.M. (Isak and Eskild are in Isak’s room and Isak is trying to find Even on social media)
Radiohead - Talk Show Host (Isak watches Even walk by)
Ketil Schei - Kissing You (Isak is watching Romeo and Juliet, this song is in the soundtrack to the movie)
MGMT - Electric Feel (Justice Remix) (Friday afternoon, the boys are going home from school)
Nas - The Message (Isak and Even chatting in Even’s room)
Nils Bech - That Girl (Sonja and other come and Isak watches Even w/ her + credits)
LCD Soundsystem - Someone Great (Isak does the gay test)
Mariss Jansons & Oslo Philharmonic Orchestra - Grieg: Holberg Suite, Op. 40. - Preludium (the boys are watching the girls dance)
Surferosa - Neon Commando (pregame, Isak and Emma talking)
Robyn - Call Your Girlfriend (Isak is kissing Emma and Even is kissing Sonja and they’re looking at each other)
No. 4 - Lite Og Stort (credits)
Justin Bieber - Sorry (pregame at Isak’s, Sonja and Emma are talking)
Tears for Fears - Head over Heels (Isak and Even and riding on the bicycle after leaving the pregame)
Des’ree - Kissing You/Ketil Schei - Kissing You (pool scene - Isak and Even kissing for the first time)
Slick Posh - Koko Remix (credits)
10cc - I’m Not In Love (Isak and Even kissing in Isak’s room)
The Velvet Underground - Sunday Morning (Isak is in his room and texts Even and then Eskild comes in w/ a gift)
Dårlig Vane - Gikk I Bakken (starts when Even messages Isak things might’ve moved too fast and the boys have a pregame)
Vince Staples - Lift Me Up (the boys are going to Emma’s party)
Berghain 2016 - Mikkel Øwre (??) (Isak’s inside at the party and sees Even and Emma runs into him)
Kanye West - Hold My Liquor (Isak leaving the party after seeing Even and Sonja kiss)
Nas - Hate Me Now (Isak walking through the yard while Emma and Even are at each side and look at him)
“How to kill a king:
Find a queen
Make he strong
Make her smart
Make her fierce
Make her beautiful
Make her kind
Add lust and simmer
Scrape away all the love
and wrapped in silk
Watch him choke.” -C2S
Romeo & Juliet × Jimin [2.5.17]
As someone who's heard that Romeo + Juliet (dir. Baz Luhrmann) was the "most accurate to the screenplay, technically" but also that it wasn't as accurate as it could be, plus all the other pro/con arguments abt it that float around, I was hoping you could tell me why you dislike it? Thank you!
So, I decided to watch the movie again before answering your message (that’s mainly why I took so long to reply! I’m sorry) because the last time I watched it was like five years ago, and I actually loved it this time around? I’ve been fangirling the whole night.
I agree that Luhrmann did a fantastic job in ‘translating’ the society of Shakespeare’s Verona into the contemporary world. The misogyny, the cult of violence and masculinity—all these aspects were brilliantly shown by Luhrmann. Besides, the rhythm of the movie is marvelous. All the scenes are governed by this impulsive, erratic speed. It gives you no time to think; you get carried away by its rash haste. The crazy speed of the play is one of my favorite things because it’s like, a huge emotional rollercoaster.
Still, I’m uncomfortable with the way Luhrmann filmed Romeo and Juliet’s first conversation—Juliet literally has to step back to prevent Romeo’s mouth from touching hers right when he says, “have not saints lips and holy palmers too?”. It looks so self-assertive, it makes me cringe. They’re literally creating a sonnet together, it should be beautiful and not creepy. And then there’s this new scene where we see Romeo arrive at Juliet’s bedroom on their wedding night, which I think is nonsense. I talked about it here.
Another part that I found disappointing was the portrayal of Romeo’s despair when he receives the news of his banishment in the friar’s cell. He should be “on the ground, with his own tears made drunk”, “taking the measure of an unmade grave.” He is so desperate and anxious that he even attempts to kill himself just to destroy his Montague self. However, Leo is too serene. I can’t help comparing his acting with Leonard Whiting’s portrayal, who was cut out most of the lines in this scene but who managed to accurately show Romeo’s anxiety nonetheless. Another thing I’m not sure I like entirely is the “balcony” scene. In the original play, Juliet is locked inside her window and therefore they cannot touch, let alone make out in a pool. I find it very significant that they don’t even touch in the longest, probably deepest conversation they have, but I felt like Luhrmann over-sexualized the scene unnecessarily. And then, as usual, they didn’t make Tybalt come back after Mercutio’s death. It’s quite an important little detail—both the fact that Tybalt came back to Romeo and that Romeo only suggested revenge after Tybalt’s return. (Tybalt would never run away from a fight? He is too arrogant to do so.)
The death scene is most likely what I dislike the most, though. To begin with, I think the scenery, pretty though it is, isn’t really appropriate—it should be dark, scary, the way a “nest of death, contagion, and unnatural sleep” should be, only lightened by Juliet’s beauty and not by pretty candles all around (“Her beauty makes / This vault a feasting presence full of light”). The place should correspond to Juliet’s fears:
Shall I not, then, be stifled in the vault,
To whose foul mouth no healthsome air breathes in,
And there die strangled ere my Romeo comes?
Or, if I live, is it not very like,
The horrible conceit of death and night,
Together with the terror of the place—
As in a vault, an ancient receptacle,
Where, for these many hundred years, the bones
Of all my buried ancestors are packed:
Where bloody Tybalt, yet but green in earth,
Lies festering in his shroud; where, as they say,
At some hours in the night spirits resort—
Alack, alack, is it not like that I,
So early waking, what with loathsome smells,
And shrieks like mandrakes’ torn out of the earth,
That living mortals, hearing them, run mad.
It should be that terrifying. And, most importantly, it should specifically be Capulet’s crypt rather than some random church. Basically because by poisoning himself in the vault of his wife’s family, Romeo is destroying the patriarchal system (as well as reinforcing again his rejection of his own surname and the whole feud; he chooses to “set up” his “everlasting rest” in Capulet’s tomb rather than in that of Montague).
I find it very symbolic that they both die alone, surrounded by Tybalt’s and Paris’ corpses—the two men who thwarted their love the most—; I actually think it’s very significant to make them die separately. It reinforces the repressive isolation that they both experimented throughout the play. If you think about it, we not only witness the evolution of their love but also their evolution as individuals. We get to see how their relationship alters their social identities (i.e. Romeo’s willingness to love Tybalt, Juliet’s sexual liberty, etc.), and when their society rejects these new identities, they tragically decide to commit suicide. (More on this here.) I think they not only kill themselves for each other, but also for themselves, and this is something that’s highlighted by the fact that they die alone.
Besides, having Juliet wake before Romeo’s death kind of blurs the Liebestod trope—that is, death is not truly dividing them, but finally bringing them together. They kill themselves because they cannot be together in life, ergo Romeo promises he “will still stay with thee” because death will turn him into Juliet’s husband again. (There are actually lots of references to wedding rituals in this scene.) So when he says “thus with a kiss I die” (“die” meaning both to lose your life and to have an orgasm) he is not really saying farewell. He is kissing her right before dying to “seal with a righteous kiss / A dateless bargain to engrossing death”. However, in the Luhrmann version, Romeo dies thinking that death will separate him from Juliet, and so his last kiss is not a “dateless bargain” but a goodbye. (Overall his death lacks something if Juliet wakes in time. This awesome lesbian version also made Romeo die after Juliet’s awakening, but neither Luhrmann nor the lesbian production dared add new lines and he just stays speechless until he dies and I find it very weak? If Romeo saw Juliet live again, he would surely say something. If Shakespeare had wanted Juliet to wake before his death, he would have written it like that, but he didn’t. I feel like Luhrmann is changing the meaning of the scene just to increase the dramatic effects of it.)
I also think it’s highly important to make Friar Lawrence enter the scene between Romeo’s and Juliet’s deaths—he gives Juliet a very suitable option in terms of religion:
Come, I’ll dispose of thee
Among a sisterhood of holy nuns:
Stay not to question, for the watch is coming.
Juliet is breaking the rules again by refusing to hide at a convent and spend the rest of her life devoting herself to God and mourning her dead husband. She prefers to commit suicide. But what’s even more irritating about Luhrmann’s version is that Juliet doesn’t say a word after Romeo’s death, which weakens the character a lot. Their conversation ends with Romeo’s “thus with a kiss I die”. It’s a pity, because her last words are really potent, especially considering that daggers were seen as a masculine form of suicide (whereas poison was often attributed to women. My kids love burning down gender roles): “O happy dagger! This is thy sheath: / There rust and let me die” (with another pun on “to have an orgasm”). By introducing Romeo’s dagger into herself she’s again claiming her right to be sexually active. This metaphor is weakened by making her use a gun instead (AND BY CUTTING OUT HER DEATH SPEECH LIKE!!! HOW DARE YOU!!!).
Another thing that I wish were included in the movie is Capulet and Montague’s reconciliation. I find it vital for the message that the play wants to transmit. After all the violence, the prejudice, the social oppression, Romeo and Juliet’s death puts an end to the war between both households (I say households and not families). The patriarchs admit the wrong they did, and it’s just so satisfying to hear them apologize. I think this is kind of the whole purpose of the play—I would dare say this last conversation is the reason the whole story was told in the first place. The prologue focuses on the households’ violence, and it actually mentions Romeo and Juliet to express that their death ceased the violence:
Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-crossed lovers take their life,
Whose misadventured piteous overthrows
Doth with their death bury their parents’ strife.
However, in Luhrmann’s version, Capulet and Montague only stand side by side without saying a word while the Prince reprehends them, leaving up in the air whether or not they will take their children’s advice and replace hate with love.