In Popular Culture
Thom Yorke cites the film as one of the inspirations for the Radiohead song "Exit Music (For a Film)", which was written specifically for the ending credits of the 1996 film William Shakespeare's Romeo + Juliet. Said Yorke, "I saw the Zeffirelli version when I was 13, and I cried my eyes out, because I couldn't understand why the morning after they shagged, they didn't just run away. The song is written for two people who should run away before all the bad stuff starts. A personal song".
Celine Dion referenced this film, in particular the "hand dance" scene, in the video for her 1992 single "Nothing Broken but My Heart".
Japanese manga artist Rumiko Takahashi referenced the Zeffirelli film in two of her manga and anime works. In one episode of Urusei Yatsura, devious troublemaker Ryoko Mendou invites the series' male protagonist, Ataru Moroboshi, to have a "Romeo and Juliet" rendezvous with her, and wears a dress based on Olivia Hussey's from the 1968 film. Later, Takahashi's Ranma 1/2 featured a storyline in which the lead characters, Ranma Saotome and Akane Tendo, are cast as Romeo and Juliet in a production of the play at their high school. Takahashi designed Ranma and Akane's costumes for the play with Whiting and Hussey's outfits in the Zeffirelli film in mind.
Read more about this topic: Romeo And Juliet (1968 film)
Famous quotes containing the words popular and/or culture:
“That popular fable of the sot who was picked up dead-drunk in the street, carried to the duke’s house, washed and dressed and laid in the duke’s bed, and, on his waking, treated with all obsequious ceremony like the duke, and assured that he had been insane, owes its popularity to the fact that it symbolizes so well the state of man, who is in the world a sort of sot, but now and then wakes up, exercises his reason and finds himself a true prince.”
—Ralph Waldo Emerson (1803–1882)
“Without metaphor the handling of general concepts such as culture and civilization becomes impossible, and that of disease and disorder is the obvious one for the case in point. Is not crisis itself a concept we owe to Hippocrates? In the social and cultural domain no metaphor is more apt than the pathological one.”
—Johan Huizinga (1872–1945)