Giulietta e Romeo (1954) di Renato Castellani Da "Romeo and Juliet" di William Shakespeare, Adattamento di Renato Castellani Con Laurence Harvey (Romeo), Susan Shentall (Giulietta), Flora Robson (La Nutrice), Norman Wooland (Paride), Mervyn Johns (Frate Lorenzo), John Gielgud (Il Coro), Bill Travers (Benvolio) Sebastian Cabot (Capuleti), Lydia Sherwood (Lady Capulet), Ubaldo Zollo (Mercutio), Enzo Fiermonte (Tybalt), Elio Vittorini (Prince of Verona), Giulio Garbinetto (Montague), Nietta Zocchi (Lady Montague), Thomas Nicholls (Friar John), Mario Meniconi (Baldassarre ), Peter Shack (Samson), Luciano Bodi (Abraham), Dagmar Josipovitch (Rosalina) Music: Roman Vlad Photography: Robert Krasker Costumes: Leonor Fini (138 minutes) IMDb Rating: 6.8
Suleiman
I wrote a few post two years ago on the film "Romeo and Juliet " (1954) by Renato Castellani for logical view Painting in the cinema. In those places I I was especially dedicated to the identification of precise correspondences between images of the film and paintings. Now play a different job (though not all) take a more general correspondences, and then see how the visions of some artists have painted in a sense permeate the film made by Castellani, which lasted six years. In this post I consider four Italian painters of the Quattrocento: Piero della Francesca, Mantegna the Ghirlandaio and Carpaccio.
Queen of Sheba (detail) c.1452 Church of San Francesco, Arezzo
E 'fresco by Piero della Francesca with Solomon and the Queen of Sheba, despite the differences representative to inspire Castellani, especially in figure of Juliet. The difference is mainly linked to way representative of the cinema, far dall'impassibilità Piero, but the link exists, as shown in the two images below.
In the first image, Juliet (Susan Shentall ), which has not yet met Romeo, is spying with his mother and the nurse's arrival Count of Paris ( Norman Wooland ), asking to marry her. In the second image is marrying Juliet with Romeo. The two look through a grate in the monastery of Friar Laurence ( Mervyn Johns), who officiates the wedding. 
Palazzo Ducale, Mantua
In the frescoes of Andrea Mantegna in the Camera degli Sposi or Room picta (whatever you call it) Renato Castellani's attention and is mainly aimed at those who suggest the representation of the Court of Mantua, as seen below in the images of two different scenes of the film.
In the first image, at the house party Capulet, Tybalt ( Enzo Fiermonte ) learns that the party is also Romeo. In the second image, Romeo ( Laurence Harvey), who was exiled after the killing of Tybalt, is leaving for Mantua and greets a member of the Montague family. 
Collegiate 1473-75, San Gimignano
Cappella Tornabuoni, Santa Maria Novella, Florence
Cappella Tornabuoni, Santa Maria Novella, Florence
Domenico Ghirlandaio is present in Renato Castellani. His artwork is so congenial to his way of seeing. As a direct reference, I believe we can show the image below, which is very close to the representation of women who attend the Visitation.
Tybalt was slain by Romeo and Juliet is struggling with the mother for not being able to marry County Paris. 
1495-1500 Stories of Ursula Gallerie dell'Accademia, Venice
In the film
Renato Castellani, the process after the killing of Tybalt, whose location the courtyard of the Palazzo Ducale in Venice, calls one of the episodes of the story of St. Ursula Vittore Carpaccio of : the arrival Ambassadors English. 
1495-1500 Stories Gallerie dell'Accademia, Venice
Sat'Orsola's dream is called in the film in a unique way: the messenger of Friar Laurence to Mantua is located in front of a patient suffering from fever and therefore will not return in time to Verona. 
Scuola di San Giorgio degli Schiavoni, Venice
The monastic cell in which there is the vision Carpaccio of St Augustine draws the cell of Friar Lawrence in the film by Castellani. 
78x51 cm 1505-10 National Gallery of Art, Washington
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