Romeo and Juliet belongs to a tradition of tragic romances stretching back to antiquity.
The plot is based on an Italian tale translated into verse as The Tragical History of Romeus and Juliet by Arthur Brooke in 1562 and retold in prose in Palace of Pleasure by William Painter in 1567.
In terms of casting (something that professionals actually get paid to do, by the way Carlo) I get the distinct impression that Hailee Steinfeld was chosen for this role very soon after True Grit, before she grew out of her pretty young charm and into a tomboy. That face should be on a Calvin Klein underwear campaign, not on the silver screen with lines to deliver and stuff.(And, side note, what 18 year old male who is so full of passion and temper that he crashes a wild party, falls madly in love with two different women, gets married, gets banished, and kills two guys and himself within the space of a few days chooses to spend an afternoon chiseling placidly away at a piece of marble? Instead, by the time the tomb scene came along, all I could think was: please God let this movie end and release me from its impotent, beige, trope-ridden hell. Too bad he looked like the placating younger brother lost amongst a cast of simian adult cousins ("We fight! " "No, come on you guys, let's just all get along! And Ed Westwick had some wonderful potential as Tybalt; he just needed a director who could help him reign it in a bit and bring out the character subtleties.
Yes, she can act, yes, she's got a good face, but, no, she is not a Juliet. I can't recall a more fatal miscast then these two ill-equipped leads. I had absolutely no emotional investment in the relationship between Romeo and Juliet. And what is the story of Romeo and Juliet when you suck all the life-blood out of the titular relationship?
Shakespeare borrowed heavily from both but expanded the plot by developing a number of supporting characters, particularly Mercutio and Paris.
Believed to have been written between 15, the play was first published in a quarto version in 1597.
Performances in the 19th century, including Charlotte Cushman's, restored the original text and focused on greater realism.
Juliet's cousin, Tybalt, is enraged at Romeo for sneaking into the ball but is only stopped from killing Romeo by Juliet's father, who doesn't wish to shed blood in his house.
After the ball, in what is now called the "balcony scene", Romeo sneaks into the Capulet orchard and overhears Juliet at her window vowing her love to him in spite of her family's hatred of the Montagues.
Later, Count Paris talks to Capulet about marrying his daughter Juliet, but Capulet asks Paris to wait another two years and invites him to attend a planned Capulet ball.
Lady Capulet and Juliet's nurse try to persuade Juliet to accept Paris's courtship.
The play ascribes different poetic forms to different characters, sometimes changing the form as the character develops.