Music to hear, why hear’st thou music sadly?
Sweets with sweets war not, joy delights in joy
This February has been quite the month for love and William Shakespeare. The recent children’s film Gnomeo and Juliet, produced by Elton John and directed by Kelly Asbury (of Shrek franchise fame), has been killing at the box office for the last month. The combination of Shakespeare and John’s pop culture collateral clearly makes for a pleasurable and profitable experience. The film brought in $25 million in its opening weekend and has grossed nearly $56 million to date, according to BoxOfficeMojo.
This film wants nothing more that to be a sumptuous cinematic experience. The animation is absolutely stunning, particularly in the realistic texturizing of the clay gnomes. The evidence of wear that each unique figure possesses in the form of chipped paint or a broken hats reveals their individuality and experience in the world of the red and blue gardens, almost like scars on the battle-weary soldier. The detailed texture of the gnomes contrasts nicely with the animated naturalism of the flora, the manufactured materiality of the plastic flamingo, Featherstone, and the racing lawn mowers. In this way the film works to rewrite the domestic imagery of the English suburbs with an accessible life all of their own.
The production budget for the visual aspects of this film was surely rivaled by that for the voice actors and soundtrack. It is simply bursting with glitterati voice actors from across the pond, including Michael Caine, James McAvoy, Emily Blunt, Jim Cummings, and Maggie Smith. Ozzy Osbourne plays a lovingly deranged garden fawn, Hulk Hogan advertises Terrafirminator (an atomic lawn mower whose name I just love), and even Dolly Parton makes a cameo appearance as a busty gnome all her own. This is not to mention the Elton John-infused soundtrack, which adapts his biggest hits for the occasion. Even if it is a bit heavy-handed with its use of “Crocodile Rock,” the music and cameos as well as the numerous cultural references (I even spotted a Brokeback Mountain quip in there) makes the film, like Toy Story and Shrek, equally fun for parents and their kids.
I actually liked this little move as it illustrates a very valid question implicitly posed by the film: Who has the authority to rewrite Shakespeare? The remark is often made that Romeo and Juliet is a comedy until Tybalt gets killed, and then the tragic structure takes hold. This film, like the play itself, tempts us to imagine both the potential grief and the potential joy of equally viable alternate realities. The film does not shirk from the consequences of danger, suggesting that a gnome who is entirely smashed is really dead; There is a long hold on Juliet’s demolished pedestal, suggesting that she and Gnomeo may too have met a tragic end.
While Shakespeare may have chosen a tragic course, this film chooses a comedic one in accordance with their target audience and financial goals. The acknowledgement of both tragic and comic potential outcomes, and the valorization of individual agency to influence those outcomes, reveals a fundamental difference between a Renaissance worldview and our own. Furthermore, it makes for a lush and pleasurable retelling of the Romeo and Juliet story with a few happy surprises along the way.
- This film is currently playing in most major UK and US theaters, but check here for international release dates.