![]() ![]() Juliet daydreams of Tromeo entering her bedroom from an outside window, only to have her bloated stomach torn open by him, revealing rats and buckets of popcorn. #Lemmy tromeo and juliet full#I simply dare you to watch Tromeo and Juliet’s plexiglass love scene without having to pull your jaw off the floor.īut when this film goes full bore it is an exploitative, violent, gore-lover’s dream. It can even be argued that Troma’s love for nudity and sex makes the relationship even more passionate and sensual than it ever had been depicted before. There is a genuine tenderness and care in the way it is handled and it is every bit as touching among the on screen carnage as it was in Zeffirelli’s 1968 film. The blissful romance between Tromeo and Juliet isn’t just put through its paces here. ![]() You get chopped fingers, severed limbs, crushed heads, oozing brains… but wait, Shakespeare had a lot of that stuff too. In fact, it could be argued that the Troma-tizing (hahaha… see what I did there?) of this film makes it more interesting and definitely more entertaining than the original could have ever hoped to be. ![]() Just know that although Juliet is in a conflicted lesbian relationship and Tybalt (Tyrone in the film) carries around a wooden club topped with a carved Hitler head, this is still the same story you read in 9 th grade English class. I’m assuming most are readily familiar with the plot of Shakespeare’s tragedy so I won’t offer a rehash of it here. If that doesn’t set the tone, I don’t know what could. ![]() This is all backed by an overdubbed reading of the beautiful opening prose of Shakespeare’s play, read by Lemmy of Motörhead fame. These blurred distinctions are enough to completely shatter the rigid perceptions held by elitist art snobs and make the lovers of B-grade trash feel vindicated in their pursuit for sleaze.įrom the moment the film begins we see these two opposites fused On screen we see a dead squirrel hanging in a noose and random scenes of graphic violence, including a great shot of slimy ears being pulled from a man’s head and stock footage of a gila monster swallowing a live mouse. Never before have I seen the line between “art” and “trash” so thin and opaque. When you pop in a Troma film on DVD I’m sure most take on the lackadaisical attitude of “…well, it ain’t Shakespeare.” But wait! This time it is Shakespeare! Oh shit, what now? In concept alone the film forces you to pay attention, but the story is so screamingly accurate and fits so astonishingly well into the Troma mold that questions have to be raised about just how classy Shakespeare’s work really was, or just how lowbrow and awful a film like The Toxic Avenger should really be regarded. I think this says a lot right off the bat. The most shocking thing about Tromeo and Juliet is just how faithful it is to the bard’s original story. These films are all masterpieces from their respective creators… but only one of them features gigantic penis monsters and random acts of nipple piercing. Orson Welles had Citizen Kane, Frank Capra had It’s a Wonderful Life, John Ford had Stagecoach, and Lloyd Kaufman has Tromeo and Juliet. It is hands down the best film I’ve seen in months and the only thing I could think about right now is getting this review finished so I can watch it again. It may as well have been titled “Lloyd Kaufman’s Mission Statement in Five Acts.” It is a film so deviously ingenious in its execution that it manages to both subvert and pay tribute to Shakespeare’s original work while at the same time raising serious questions about what human beings choose to elevate or ridicule as art. Tromeo and Juliet is the Troma vision fully realized. Starring Jane Jensen, Will Keenan, Valentine Miele, Maximillian Shaun, Steve Gibbons, Sean Gunn, Debbie Rochon, Lemmy ![]()
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