The last Shakespeare production I wrote about was Orson Welles’ moody take on Macbeth. George Cukor’s movie of Romeo and Juliet was made only 12 years earlier, but seems to belong to another world. Where Welles’ Poverty Row film looks rough around the edges, Cukor’s gives the Bard the full gleaming Hollywood treatment. MGM under Irving Thalberg poured two million dollars into this production, with half of that spent on building an ambitious replica of Verona on a backlot, while the budget also ran to enormous crowds of extras. Kenneth S Rothwell’s book Shakespeare on Screen, which I’m finding invaluable for background on these older adaptations, recounts how the studio did even consider filming in Verona itself before deciding against.
Given the lavish feeling of the whole production, it’s quite surprising MGM didn’t go for Technicolor. Instead, they stuck to black and white, but the emphasis is very much on the white, with many scenes shot in brilliant sunlight, and Norma Shearer as Juliet dressed in a succession of flowing white gowns by Adrian – a long way from Welles’ cardboard crowns. At times I must admit I find the sheer glossiness of it all a bit much, and the opening shot of Shearer feeding a pet deer in a jewelled collar, as orchestral themes from Tchaikovsky swell in the background, reminded me of Disney. (Snow White was released the following year.)