#The movie tromeo and juliet for free#
#The movie tromeo and juliet movie#

The Toxic Avenger was deliberately campy and unpolished, set in the mythical burg of Tromaville, and featured copious nudity, ridiculous gore, bizarre costumes, cheap shocks, sci-fi and comic book motifs, and toilet humor. In 1985, they produced The Toxic Avenger, the tongue-in-cheek story of a nerd who gains superpowers when he accidentally falls in a vat of toxic waste. Short promotional clip for Tromeo & JulietД¬OMMENTS: Troma is a low-budget film producer/distributor formed in 1974 to promote and distribute exploitation movies. Tromeo is revolting one moment, and oddly sweet and beautiful the next, an incongruity that only adds to the weird atmosphere.

#The movie tromeo and juliet movie#

The result is a movie thatвЂ™s completely unpredictable, despite a plot known to every high schooler. The typical Troma anarchy and bad taste reign again here, but the producers add a healthy dollop of bargain-basement surrealism (JulietвЂ™s disturbing sex dreams) and some on-the-cheap arthouse effects (the lovemaking scene in a plexiglass box against a starry backdrop). Lloyd Kaufman and his Troma team were inspired by the concept, however, and put more creativity into the project than they did in their usual formula schlock fare. WHAT MAKES IT WEIRD:В Redoing a classic Shakespearean tragedy as a low-budget, offensive farce is a promisingly weird, if obviously gimmicky, premise. The best sequence is when JulietвЂ™s bellyВ unexpectedly and rapidly distendsВ andВ splits open to give birth toвЂ¦ a surprise. INDELIBLE IMAGE: Many of the more memorable images in Tromeo and Juliet are too obscene to be depicted in stills. Shakespearean actor William Beckwith played the role of Cappy Capulet under the pseudonym вЂњMaximillian ShaunвЂќ because he was a member of the Screen ActorвЂ™s Guild and Tromeo and Juliet was a non-union film.

#The movie tromeo and juliet for free#

SeveralВ less famousВ bands also donated songs for free or for a nominal price.

Rock nвЂ™ roll cult figure Lemmy (of the band MotГ¶rhead) played the role of the narrator for free, and also donated the song вЂњSacrificeвЂќ to the soundtrack.

Much of ShakespeareвЂ™s original dialogue was included in the rough cut, but most was removed after negative audience reaction.

Original drafts of the script had the parts played by costumed charactersВ from other Troma studio releases: The Toxic Avenger, Sgt.

The two young loversВ must overcome the bloody gangland antics of their friends and family,В JulietвЂ™s upcoming arranged marriage to a self-mutilating meat-packing heir, and CappyвЂ™s tendency to beat Juliet and lockВ her in a plexiglass box,В among other crossed stars. MontyвЂ™s son, Tromeo, falls in love with CappyвЂ™s daughter, Juliet. PLOT: Alcoholic Monty Que andВ unscrupulous Cappy Capulet have a long running feud dating back to their days as partners in a low-budget sleaze movie studio, and they have passed on their personal vendettas to the next generation. The things that made Shakespeare great.вЂќВ вЂ“Tagline for Tromeo and JulietДЇEATURING: Will Keenan, Jane Jensen, Lemmy, Debbie Rochon By contextualizing KauffmanвЂ™s film within the emergence of the teen pic genre of the late 1980s and early 1990s, this essay argues that TromeoвЂ™s main goal-beyond simply shocking, grossing out, and titillating its viewers-is to save Shakespeare from the mainstream marketвЂ™s teenification of everything.вЂњBody piercing. This essay argues that Lloyd KauffmanвЂ™s Tromeo & Juliet (1996) responds to the cute-ification of Shakespeare. According to this reading, cute appropriations prove to be particularly insidious, revealing much about the strategic functions of adult misrepresentations of youth-and effacing the historical, social, and psychological pressures that can, and often do, end in tragedy. When unchecked or unreflective, such cute cinematic Romeos and Juliets appear merely to collude with conservative cultural and educational agendas whose goal is to socialize youth. Unlike that originary appropriation of Romeo and Juliet, for example-involving the golden statues whose opulence is designed to provoke awe in onlookers-cinematic appropriations tend to trade in the postmodern aesthetic language of the вЂњcute,вЂќ which is more likely to appeal to the superiority of onlookers. ABSTRACT As Romeo and Juliet has shifted from an adult tragedy involving young persons to what has become a Young Adult classic, so too have the aesthetic modes of representation and appropriation shifted in ways reflective of modernismвЂ™s transition to postmodernism.