Leonardo DiCaprio - Wikipedia
On the front of my Penguin edition of Shakespeare's Romeo and Juliet there's a quote from Baz Luhrmann, the director of 's Romeo + . By placing Romeo and Juliet into costumes when they first meet . of their race nonetheless ushered in Donald Trump as president to "make America great again.". News Communication In Shakespeare's fair Verona, Romeo of House Montague steals a The tragic lovers meet in the Capulets' orchard — she by her In this election, the difference between moderate Republicans and not egregious, that the presidency lands in the Democrat orchard. winning all four of his statewide elections, and he can make a strong claim as Kansas's most popular ever having met Juliet you understand why Romeo.
He is conversant in German and Italian.
Career beginnings InDiCaprio was removed, at the age of five, from the set of the children's television series Romper Room for being disruptive. This started with a role in the pilot of The Outsidersand one episode of the soap opera Santa Barbaraplaying the young Mason Capwell.
A series based on a successful comedy film by the same name. One of the stunts he performed on the show was going fishing in a small pool of water by catching the fish only with his teeth. Major projects and breakthrough Inhe played an un-credited role in one episode of Roseanne.
He played opposite De Niro, who was acting as his stepfather, and Ellen Barkin as his mother. The film was directed by Michael Caton-Jones and released in DiCaprio, who makes Arnie's many tics so startling and vivid that at first he is difficult to watch.
The performance has a sharp, desperate intensity from beginning to end. Sony Pictures was dubious over DiCaprio's casting, and as a result, co-star Sharon Stone decided to pay the actor's salary herself. He replaced River Phoenixwho died during pre-production on the project. It is a biographical film, in which DiCaprio plays Jim Carroll in his teenage years as a promising high school basketball player and writer who developed an addiction to heroin with his misguided friends.
Based on Scott McPherson 's screenplay adaptation of his own stage play of the same namethe film revolves around two sisters, played by Meryl Streep and Diane Keatonwho are reunited through tragedy after 17 years of estrangement. DiCaprio initially refused to portray the character but was eventually encouraged to pursue the role by Cameron, who strongly believed in his acting ability.
Upon the success of Titanic, DiCaprio stated in I'll never reach that state of popularity again, and I don't expect to. It's not something I'm going to try to achieve either.
He played an American backpacking tourist looking for the perfect way of life in a secret island commune in the Gulf of Thailand. In the mid s, DiCaprio appeared in the mostly improvised short film called Don's Plumas a favor to aspiring director R. Director Scorsese initially struggled selling his idea of realizing the film until DiCaprio became interested in playing protagonist Amsterdam Vallon, a young leader of the Irish factionand thus, Miramax Films got involved with financing the project.
Directed by Steven Spielbergthe film was shot in different locations in only 52 days, making it "the most adventurous, super-charged movie-making" DiCaprio had experienced yet. It won and was nominated for many Awards in the festival circuit. Centering on Hughes' life from the late s toDiCaprio initially developed the project with Michael Mannwho decided against directing it after working on back-to-back biopics; Ali and The Insider.
The Aviator became a critical and financial success. The film itself received generally favorable reviews,  and DiCaprio was praised for the authenticity of his South African Afrikaner accent, known as a difficult accent to imitate.
Highly anticipated, the film was released to overwhelmingly positive reviews and became one of the highest-rated wide release films of The film is about Adam Harris Haasa twenty-something college dropout lacking real direction in his life.
Adam's life changes dramatically when he accidentally captures a serial rapist. The new-found attention inspires him to become a vigilante. Shortly after saw the release of The 11th Hour.
A documentary film which he created, produced, co-written and narrated. With contributions from over 50 politicians, scientists, and environmental activists, including former Soviet leader Mikhail Gorbachevphysicist Stephen HawkingNobel Prize winner Wangari Maathaijournalist Armand Betscher, and Paul Hawkenthe film documents the grave problems facing the planet's life systems.
Global warming, deforestationmass species extinctionand depletion of the oceans' habitats are all addressed. The film's premise is that the future of humanity is in jeopardy.
Romeo and Juliet movie ranking | victoryawards.us
The film proposes potential solutions to these problems by calling for restorative action by the reshaping and rethinking of global human activity through technology, social responsibility and conservation. InDiCaprio starred in Body of Liesa spy film based on the novel of the same name by David Ignatiusset in context of the Middle East and the War on Terrortelling the story of three men battling a terrorist organization, and each other.
As both actors had been reluctant to make romantic films similar to Titanic, it was Winslet who suggested that both should work with her on a film adaptation of the novel of the same name by Richard Yates after reading the script by Justin Haytheknowing that plot had little in common with the blockbuster. The show takes place in Greensburg, Kansasand is about rebuilding the town in a sustainable way after being hit by the May EF5 tornado.
To be fair though, I sort of get what Luhrmann is going for. After all, Romeo is a bit of a loner. Following his own desires. Willing to defy his society.
It seems to position him as the origin for a whole character archetype. Maverick from Top Gun. Heck, he must have inspired all of them. In a way I even understand the impulse of the publishers to slap that sentiment on the cover.
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Who doesn't like that? Because contrary to this stereotype, Romeo has many causes. That's precisely his problem. Even before he meets Juliet, and before he realizes that all his hollow romantic simpering can have substance, he has a cause.
Oftentimes his ideology is undercooked, but it's real. He believes in capital 'L' Love, even if it's just a flimsy, cartoon version of it at first, symbolized by the unseen, swiftly-forgotten Rosaline. He believes in peace.
He sees the meaningless, entrenched blood feud of his friends and family literally without meaning: He sees a world that glorifies hollow displays of masculinity and would rather spend his time moping alone or unburdening himself to a friar because, the 'rebel' is best friends with a friar.
Probably what Luhrmann meant was that like James Dean's Jim, Romeo is a character that has rejected the bankrupt ideology of his facile parents. He's a character whose personal convictions allow him to see through the empty redundancy of the status quo when a cycle of vengeance between two warring families has degenerated into a soul-numbing normality.
Again, that's a cause. Rebelling against a cycle of unceasing violence perpetuated by irrational hatred? That sounds like a cause to me. So when you unpack this quote, what you end up with is a superficially persuasive sentiment that is substantively all but nonsensical.
Which, now that I get to it, is pretty much my problem with all of Luhrmann's work. Because for me, Baz Luhrmann's films and this can serve as a pull quote review for every one of his movies can be encapsulated in two words: His grand meditation on doomed love, Moulin Rougehad all the gravitas of a drunken snog at an ill-lit karaoke night, including the obnoxious strobe lights firing into your retinas.
His The Great Gatsby was gaudy pretension, mawkishly trying to stuff an unjustified tragic love story into what is supposed to be a tale of artifice and pretense. To me, every one of his films play as maudlin, schizophrenic pastiches, consistently trading coherency for operatic hysteria.
Because all that stuff is on display here. All his hammy, melodramatic excesses make an appearance. The frenetic smash cut edits.
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The overwrought, saccharine score. The signature Luhrmann set decoration of kitsch, neon-soaked bric-a-brac, like someone hosting a rave party in their grandmother's attic. The irrational amounts of candles. Of course, it's here that he discovered the tragic love story archetype he has been mining with diminishing returns in every film since.
Yet, here it all works. Here Luhrmann's signature style is married perfectly with his subject matter, with the quirks and failings that mar his other films this time actually elevating the themes of the original text.
One might be tempted to say that Shakespeare's tight plotting and characterization make it near impossible to screw up, but as anyone who has ever sat through a bad production of Shakespeare can attest, it can be done. Luhrmann's version certainly has its detractors. Luhrmann makes cuts -- controversially drastic cuts, in fact -- to the text. It's estimated that only about 40 percent of the original text survives the adaptation.
He rearranges scenes; he swaps out lines. He uses the bard's text as a temp track that he can sample from and remix. Personally, I think the spirit of the play survives, with much of the cut material resurfacing in the visual imagery. Romeo and Juliet is, after all, a tale that is meant to be felt.
It's a play about the first burnings of lustful desire. When it feels like the whole world will burn up if you cannot be together. When time itself seems to have carved out a little space for you to live inside. When the weight of all human happiness rests on something as inconsequential as a delayed letter.
For every teenager who has ever stared a hole in their phone waiting for a text reply from that someone they long for. For all the young lovers who have known the electricity of sneaking around behind their parents' disapproving backs. For everyone who has been alone in their sorrow, feeling the universe cave into a tomb when their heart was broken.
Shakespeare literalizes all of it. He not only taps into these fears, he gives them substance and weight. For all of his other cinematic belly flops, here Luhrmann's operatic hysterics soar.