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The spiritual life at the center of Romeo and Juliet’s culture, and the patriarchal fury of the play, are consistent with these themes. Sometimes this comes off as goofy camp, but sometimes this comes off as a surrealistic nightmare of Puritanical America. The hymn “Shall We Gather at the River” repeats constantly throughout the film, and the need to repress awareness of our own desires, and our need to wield tyrannical control our children’s desires, is one of the themes of this film. The two feuding households are dueling pornographic filmmakers. Tromeo and Juliet is a decidedly American take on Shakespeare’s tragedy. Perhaps viewers not from America might think this Will to Outrage strained. If you want a painfully sanitized aesthetic, might I recommend Carlo Carlei’s Romeo and Juliet? There is in this film the exploitation-movie compulsion towards graphic sex and gore, as well as astoundingly low lowbrow humor that may superficially seem contrary to the spirit of the great bard. Of course, little of Shakespeare’s language appears in Tromeo, and when it does, it is usually given voice in the form of the prologue, performed by Lemmy of Motörhead!īut the screenplay also nimbly borrows lines from other Shakespeare plays. Tromeo and Juliet was released the same year as Romeo + Juliet. Perhaps it’s the fact that James Gunn, of Guardians of the Galaxy fame, co-wrote the script, but I was pleasantly surprised to discover that Tromeo and Juliet is one of the best Shakespeare films of all time. His studio, Troma, is a factory for latter day exploitation cinema. I admit I don’t know much of Kaufman’s oeuvre beyond The Toxic Avenger.
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I anticipated that this Lloyd Kaufman film would be one of those at best. From time to time, I review films that may seem tangential to Shakespearean theatre, such as Strange Brew and Gnomeo and Juliet and Edward II. Last week, the bourgeoisie wet dream that is Carlo Carlei’s Romeo and Juliet so dismayed me that I decided the time had come to try Tromeo and Juliet.