Despite fate’s appreciation on Romeo and Juliet being clear from the beginning. their picks in the drama cause destiny to construct impulse and speed up their lives to their inevitable terminal. Shakespeare’s original presentation of destiny is of an ineluctable event. but how the characters get there is less certain and more opportunity. Whereas Luhrmann’s destiny is cruller and more controlling. but both readings of destiny have the consequence of unifying the feuding households. Fate commands the lives of the characters from birth. with their deceases predetermined by coevalss of feuding and force. In the prologue Shakespeare reveals the traumatic stoping. that “a brace of star-crossed lovers take their life” before it happens. perchance because this complements the thought that their lives have already been decided. The prologue is written as a sonnet. a 14 line verse form normally about love. but hear alternatively describes decease.

Romeo and Juliet’s lives are profoundly intertwined. shown by the usage of the remarkable “life” and they will decease together. In Baz Luhrmann’s reading of Romeo and Juliet the prologue is presented foremost by a intelligence reader. who appears on a little fuzzed Television. but so once more as intelligence headlines and a non-diegetic voice over. By demoing the parents as this line is read out it appears to put incrimination on the households. demoing Romeo and Juliet had no control in their ain deceases. However fate’s intent in the drama is for rapprochement between the households. “Which but their children’s terminal nothing could remove” .

Equally good as fate’s near association with the stars. Shakespeare besides presents destiny as an inevitable effect of past actions. After the Montagues and Capulet’s battle in the first scene we are given false hope that destiny may be overpowered. with the princes menace that their “lives shall pay the forfeit of the peace” nevertheless. from the prologue we know fate will prevail so alternatively forebodes of greater effects following clip. Luhrmann recreates this scene with prince as a head of constabulary. giving him the modern twenty-four hours authorization to transport out this menace. Luhrmann choses to hold a close up of Prince’s face. demoing the earnestness of the menace. followed by the two households separated with a door between them meaning a possible peaceable rapprochement. The families’ separation is non lasting and destiny will finally stop the feud.

The door is Luhrmann stand foring Shakespeare’s teaser of a nonviolent terminal to the feud. However force is evident throughout the households and it is this force which will let destiny to win. In the book Gregory. a Capulet retainer. says “The wrangle is between our Masterss and us their men” The inclusive pronouns give the feeling of brotherhood and pride within the households. that leads to the willingness to prosecute in force. which must necessarily stop in decease. It is this folly that forces their destiny upon Romeo and Juliet. This scene is changed in the movie so that the line is split between two Montagues. and alternatively used to demo non everyone wants to contend. showing destiny as more opportunity.

Due to recklessness. opportunity. and doomed picks. destiny is allowed to win. When we foremost meet Romeo. he is frantically in love with Rosaline “oh wrangling love. oh loving hate” the oxymoronic linguistic communication suggests Romeo’s foolhardiness. significance he will fall victim to destine and non be able to forestall it. In the book he speaks this line to Benvolio. in the movie version Romeo writes this in a diary. with his non-diegetic voice reading it for the audience. The secretiveness created here heightens the danger as no-one else will understand his state of affairs subsequently on significance he is isolated.

Before Juliet meets Romeo. she doesn’t want to get married. She tells lady Capulet “it is an honor I dream non of” this usage of upside-down sentence structure suggests Juliet is non ready to get married. and so her matrimony to Romeo will non work. Luhrmann’s bizarre Lady Capulet is over the top. and does non care about her girl. shown by the sped up frames. This increases Juliet’s isolation. intending destiny is more likely to win.

There are legion warnings of destiny in the drama ; all are ignored. Before the Capulet party. Romeo senses fate presence and he will be bound to it after that dark. He feels there is “some effect yet hanging in the stars” but ignores the marks and goes anyhow. Luhrmann heightens the significance of this line by melting out non-diegetic sound and holding Romeo expression at the starts. which as purportedly commanding his fate. Fate is besides personified as cruelly teasing the characters. Later Juliet knows things are traveling excessively fast. but doesn’t have the power to command her ain emotions. “I have no joy of the contract tonight. it is excessively rash. excessively ill-advised. excessively sudden” Another warning mark has been ignored. Fate is a penalty ; the fatal effects in the drama are inevitable because of the characters picks and actions.

When Romeo takes retaliation on Tybalt for the slaying of Mercutio. he feels person must decease to pay for the decease “Either 1000 or I. or both must travel with him” The usage of imperative and list of three gives the feeling there is no pick. Luhrmann’s presentation Romeo is more frenzied. like he is possessed. and the storm warns of impending danger. The high angle shootings give the feeling that they are being watched and demo destiny looking down at them. drawing the strings and driving Romeo to kill Tybalt. All the chief characters in Rome and Juliet are cognizant the function destiny dramas in their lives. and it is used as an alibi by characters when they make errors.

Romeo Acknowledges fate’s portion in Tybalt’s decease “o I am lucks fool” nevertheless he chooses to wholly fault destiny to relieve his ain duty. and by making so resignations to destine. When Friar Lawrence’s message fails to make Romeo. he blames “Unhappy fortune” for his the failure. despite it being mostly his mistake. as it was his program. In Luhrmann’s version Friar Lawrence wakes up startled. in a perspiration. The feeling is given that he has an inherent aptitude that his program is neglecting. Fate is presented as a witting being. And in the movie is present as much more of an unstoppable force. When Romeo is given the deceptive intelligence that Juliet has died. he stumbles backwards as if he has been hit by destiny. promoting the audience to believe back to the prologue.

Establishing shootings of a desert present Romeo as entirely and vulnerable. In the grave Romeo recognises that Juliet appears to still be populating. “Thou art non conquered. beauty easing yet” his intelligence about overcomes destiny. which is personified here as powerful and violent force. Luhrmann presents Romeo as turn toing destiny. instead than Juliet. He looks at the sky. to the starts which are closely linked to destine throughout the floor. demoing destinies presence in this scene. Luhrmann besides heightens the cruelty of destiny. taking for Romeo to gaze up to destine when he takes the toxicant. instead than at Juliet as she wakes which would hold meant the tragic stoping would hold been prevented. Fate leads Romeo and Juliet to their deceases. but they are mere marionettes playing their function to stop coevalss of feud and force. Despite destiny finally being a uniting force. its inhumaneness means it is perceived as cruel.