The Dramatics of Love Through Modern Adaptation
A Closer Look at the Filmography of Baz Luhrmann
Photo: Girl with red hat on Unsplash
In honor of Baz Luhrmann’s newest biopic, Elvis (2022), which is scheduled to release on Friday, June 24th, I wanted to return to the auteur’s greatest hits. Many await Austin Butler’s portrayal of the King of Rock and Roll while jamming out to Doja Cat’s “Vegas.” Despite the anticipation, fans must not forget the director’s long list of pre-existing films about other romantic legends that continue to speak to modern audiences.
Baz Luhrmann encourages love and cinema to be grand. In today’s world, there is much less elaborate musical serenading or poetry writing being used to honor or attract the attention of a romantic partner. Instead, courtship relies heavily on the ambiguous connotation of emoticons, superficial dating application biographies, social media posts publicly celebrating anniversaries, etc. From the safety of iPhone screens, individuals have become more concerned with instantaneous, low-stake techniques to casually confess and declare their affection for one another. Bells and whistles are reserved only for messaging alerts.
In the centuries prior, however, these bolder methods were not unfamiliar to the audiences of William Shakespeare’s Romeo and Juliet, the opera and musical genres, or F. Scott Fitzgerald’s The Great Gatsby. It is Baz Luhrmann who goes against the grain, as a filmmaker, by creating a resurgence of updated epic gestures in an attempt to reconnect present audiences with the past. He does so through overwhelming cinematic experiences that emphasize the heightened sensation of love in ways that contemporary wooing cannot. Luhrmann’s stylistic incorporation of violence, theatricality, and contemporary music are common threads throughout Romeo + Juliet (1996), Moulin Rouge! (2001), and The Great Gatsby (2013) that are responsible for reigniting outdated demonstrations of romance. These film adaptations of pre-existing art make the content more accessible for modern audiences who have grown apathetic or unable to relate to the original sources’ magnificent declarations of passion.
In Luhrmann’s films, guns are murder retaliation weapons used in the name of love, as seen in Romeo + Juliet, to make pre-existing stories relevant to today’s viewers. Medieval swords and daggers are swapped for handguns, such as in the campy, Western opening scene of the film. This is demonstrated through iconographic and stylistic elements like Benvolio’s weapon, for example, that reads “Sword 9MM Series S.” Even though the serious consequences of death are still very much present, violence is used to establish the absurdity of the family feud early on when used with ridiculous music, sound effects, and blocking; it functions as a form of modern humor. Luhrmann acknowledges the authenticity of Shakespeare’s original text by including the engraving on Benvolio’s weapon. Although, his modification serves as a more relevant form of violence that is likely to instill greater tension in viewers because of their familiarity with that form of destruction. If Luhrmann opted for swords, it is likely that the decision would distance his audience from the story and, therefore, love by situating it in a distant past. If anything, this film’s violence implies that love—familial or romantic—is explosive, dangerous, and may even backfire if one is not careful.
Similarly, gun violence is present in Moulin Rouge! to make a spectacle of love that is capable of conveying desperation. For instance, just as The Duke reaches for the weapon to kill Christian at the end, he is injured while the lovers reunite in song, thus, causing the gun to come crashing out of the theatre window and hit the Eiffel Tower. In this case, the filmmaker incorporates humor to tell a depressing story with balance—a concept modern audiences adore—by using the 1899-1900 props available within the context of the narrative. Moreover, the comedy in this film seems to be acknowledging the typical dramatics of the musical genre by poking fun at the distress of The Duke amidst a flowery eleven o’clock number. As a result, audiences are less likely to shy away from the song’s old-school outpouring of emotion, which again, uses balance to maintain their attention. Nonetheless, violence is still utilized as a serious reaction to jealousy that is derived from unrequited romantic affection. Although, its comedic play-off may be used to conform to the standard musical genre style that often ends with the lovers triumphing over their obstacles.
In addition, The Great Gatsby portrays violence as an elaborate tactic used to achieve love for modern audiences who may be less appreciative of the novel. Near the end, George’s shadow is seen with a gun, slowly approaching Gatsby in the pool to seek revenge for the death of his wife. This brief moment of slow-motion romanticizes George’s mission by limiting the audience’s perspective to his silhouette. As the scene slowly unfolds in suspense, viewers have more time to reflect on these events and consider how the complexities of love can result in unnecessary tragedies. As a result, viewers are left to admire the beauty of the horrific moment that is highlighted with a change of pace. Through this visual representation of murder, it may be more engaging than the written description of it in the novel. After all, controlled visuals are sometimes more effective for developing anxiety than the words read by individuals at various speeds. In the film, the crime leaps off of the page. Witnessing violence in films like this is an important cathartic outlet that reinforces the use of grandiose expressions of passion. Whether portrayed lightheartedly or with intensity, it helps modern audiences immersively comprehend classic texts and experience the pressures that arise from love.
Like violence, theatricality in Luhrmann’s films utilizes dramatic design and structure that allude to the stage and help express grand romantic gestures to contemporary audiences. Consider the way Romeo + Juliet is presented. One of the most iconic sets in the film is Juliet’s resting place on an elevated platform, surrounded by hundreds of candles/decadent light fixtures, and neon blue crosses that illuminate a path to her. This over-the-top display of affection for the protagonist overwhelms the viewer with a sense of romantic idolization that adds an entirely new dimension to the original text, which is made to seem bland by comparison. By positioning Juliet as if she were on a stage and utilizing manipulated time/technology that was not accessible to Shakespeare in the 1500s, this important scene takes on a modern look and feel for viewers. Plus, it honors the original way the story was intended to be performed. Audiences are provided with Romeo’s humble devotion to her in this instant through the visual spectacle without having to utter a word. No longer is Romeo and Juliet just an old script that is difficult to imagine or an exhausted retelling that uses period attire in a historically accurate tomb. It is an electrifying experience for audiences who are moved by the cinematic theatrical design. There is so much to look at and engage with that can redirect their attention back to what is important in the story.
Furthermore, Moulin Rouge! includes larger-than-life theatricality to reinforce its theme of love and the importance of showing affection. As mentioned before, the most significant features in this movie are the design and narrative structures that channel the opera and musical genres. The film is reflexive in that it contains a musical within a musical. Despite cultural appropriation, the Parisian characters prepare to perform a production that is set in India and, coincidentally, parallels the love triangle the protagonists share. By the end of the film, there are elaborate colors, costumes, and lights that are not uncommon in Luhrmann’s other films, as well. Here, the heart motif is depicted this way once again to frame the protagonists in their final song as spectators wildly applaud. It is important to note that love triangles and exotic locations are staples in many theatrical productions. Not only is India a unique setting for the story within, but Paris is also deeply intertwined with the romantic whimsy found in the general overarching story. These aspects of the film reawaken viewers’ appreciation for musicals by providing them with amazing stage features that defy the limitations of traditional theatre spaces. Perhaps Luhrmann even subtly nudges his audience in the direction of loving his film, as they watch the audience within the piece adore the Indian stage production. Viewers are meant to fall in love again with musicals, as proven by their genre elements that are featured on a bigger and better screen. There is something about seeing romance depicted with vivid color that speaks volumes. It’s how audience members may also see the world when they are in love. Unfortunately, expressing feelings like this today is uncommon in Western society.
Like Moulin Rouge!, The Great Gatsby’s portrayal of celebration and parties is very much rooted in theatrical design elements to fully express love. For example, confetti is tossed in the air, water is splashed out of the pool, and people practically dance on top of one other when Nick is invited to Gatsby’s party. Again, small stages are visible at this moment as choreographic levels are created, and people dance in the middle of a catwalk to channel a theatrical space. While the choreography and costuming may be fitting for the 1920s, the fetishization of clothes and alcohol stretches beyond this period in ways that the book cannot translate to modern viewers. For instance, Luhrmann’s quick cuts between aerial and wide shots seem to capture Gatbsy’s exhibition for Daisy as something lavish, expensive, and large-scale by contemporary standards, due to the modern music layered on top of it. While the short novel describes some of this content, it could not possibly detail nearly as much as Luhrmann shows his audiences without being longer. Perhaps the filmmaker’s adaptation of Gatsby is demonstrating, once again, how love feels, and also commenting on how the theme of superfluous materialism in the novel is very much alive today. It is both sentimentally expressive and gratuitous when used to demonstrate a love that is unappreciated by the lover.
Lastly, Luhrmann utilizes contemporary music as a method of storytelling to embrace the magnificence of love in ways that are much less common today. According to Richard Kislan in “The Score,” “Music can reinforce the emotion in drama in a way that cannot be duplicated by language alone” (214). Music has the ability to say things that words cannot by creating sensations that connect with people in deeply inexplicable ways. This concept can first be analyzed in Romeo + Juliet with “Young Hearts Run Free” by Kym Mazelle, which is lip-synced by Mercutio at the Capulet’s party while dressed in drag. The lyrics focus on embracing oneself instead of the love of another to reflect Romeo’s need to get over Rosaline. Evidently, this is not part of the original text by Shakespeare, but the song is used by Luhrmann to establish a contemporary party atmosphere that is upbeat and juxtaposes the Early Modern English verse employed. While this empowering self-love song isn’t necessarily a declaration of affection for someone else, it does play an essential role in contributing to the overwhelming force that drives Romeo to meet Juliet. A large choreographic beat is taken to ponder love and reflect on how one feels like dancing to declare their confidence and resilience.
Unlike Romeo + Juliet, however, Moulin Rouge! includes music as its primary romantic storytelling technique to capture its immense power. According to “Hollywood Flashback: Baz Luhrmann’s ‘Moulin Rouge!’ Revived the Musical in 2001” by Bill Higgins, “‘The idea of using familiar music came from old musicals,’ says Luhrmann. ‘Music in old musicals was popular music. It wasn't nostalgic. It was the music of that time.’” Luhrmann’s inclusion of pop favorites like “Your Song,” originally performed by Elton John, in the “Elephant Love Medley” or “Roxanne,” originally performed by The Police, in “El Tango De Roxanne” reinvent the love stories viewers thought they knew on the radio. They do so by transforming to fit the narrative of the film. As a result, spectators are less inclined to avoid the movie, due to the show-tune characteristics of musicals that are no longer attractive to the ears of modern audiences. It is important to note that the music in this adaptation revolves around the lyrics’ concept of love’s devotion. It moves people to feel intensity by revamping the songs people already know with contextualized pledges of romance. Music is instrumental in this film for helping modern audiences embrace the musical genre and appreciate its ability to tell stories through song.
Finally, The Great Gatsby incorporates music as a romantic gesture, as well, to comment on the state of love in the present by looking to the past. The “Crazy in Love-Kid Koala Version” by Emeli Sandé and The Bryan Ferry Orchestra reinterprets a pop song that was originally performed by Beyoncé and JAY-Z to channel the 1920s jazz sound. It can be heard playing when Gatsby’s army of gardeners comes to landscape Nick’s yard in preparation for Daisy’s appearance. In this example, Luhrmann utilizes music for comedic effect to emphasize that love can make people do ridiculous things. Gatsby’s grand romantic gesture, at this moment, is poked fun at through the playful musical rendition that brings new meaning to the sassy original. Tobey Maguire’s humorous facial expressions complement the tune by leaning into the original novel’s awkward subtext. Luhrmann portrays the wealthy as equals when fussing over romantic good impressions. As depicted with music, the auteur acknowledges that grand gestures can be corny, but also sweet when done with honest intent.
Violence, theatricality, and contemporary music help people to recognize love as the all-powerful and captivating emotion it is when featured in Baz Luhrmann’s films. Romeo + Juliet, Moulin Rouge!, and The Great Gatsby help people come in contact with their emotions by depicting large-scale demonstrations of romance, since finding and maintaining it today is less dependent on such declarations. Their extinction is prevented by relying heavily on the foundation of pre-existing texts, thus, reinforcing the early works’ value and exemplifying how they continue to be relevant to modern audiences. Gatsby’s iconic line, “‘Can’t repeat the past?’ he cried incredulously. ‘Why of course you can!’” seems applicable to Luhrmann’s work in that he often returns to historical content and storytelling modes for the preservation of grandiose depictions of love (Fitzgerald 110). As a result, he translates the indescribable feeling to modern audiences by making the modifications necessary to help it succeed. It seems bold love endures the test of time.
As we mentally prepare ourselves for the romantic depiction of Elvis and his life in Luhrmann’s next colorful movie, it is likely that this adaptation will function similarly to his previous filmography. Until we can be certain, this auteur proves to be a stylistic powerhouse who, like Elvis, is “Always On My Mind.”
