Hollywood certainly has a propensity for William Shakespeare’s infamous tale of Romeo and Juliet. In Hulu’s latest adaption of the tragic love story, audiences are introduced to the story’s wittiest character, Rosaline. Previously known as little more than Romeo’s past love interest, Karen Maine’s jocular interpretation finally gives Rosaline the recognition she deserves. But, before watching Kaitlyn Dever as Rosaline and Sean Teale as the mysterious Dario attempt to replace Romeo and Juliet as the ultimate romance to come out of Renaissance Verona, audiences must ask, ‘Is it worth it?’
From one movie buff to another, I’m here to give you the lay of the land.
The tale of Romeo and Juliet has been reimagined so often that in 2022 it’s challenging to create a new interpretation that enlivens audiences with a fresh taste of the classic. Maine finds her saving grace in her ability to transplant a sense of modernity into the time-honored tale. In an era where a woman is valued solely for her appearance and housekeeping ability, Rosaline’s biting wit and rejection of these norms make her forceful and fun. She demands that women no longer play second fiddle to the aspirations of their male counterparts and elicit their own hopes and dreams. Rosaline doesn’t want an arranged marriage but to ‘travel the world, be free, have adventures.’ The emphasis on her desires and agency transform this sappy love story into a comedic ode to feminine power and independence. Most of our female characters are depicted as strong and outspoken women, including Minnie Driver as the Nurse and Isabela Merced as Juliet. Alas, where would Rosaline be without the Nurse’s profound description of love: ‘A bit like having vertigo, quite a lot like being drunk.’
The physical comedy and modern soundtrack paired with Rosaline’s modern sarcasm recalls other beloved interpretation of classical periods like Bridgerton. It seems contemporary audiences can’t get enough slapstick historical reimaginings. I for one am excited to see more diversity come out of the industry, especially in a film where the sets and costumes create a picture-perfect depiction of fourteenth-century Italy.
Now for the pitfalls. Nearing the end, the comedy begins to feel one-note from its overuse of wisecrack one-liners. Rosaline can only make so many flippant under-the-breath remarks before it crosses the line from laughable to irritating. My biggest critique of the film is that in trying to poke fun at familiar movie tropes it falls victim to many of them, such as Rosaline’s’ gay BFF Paris who serves as little more than a flamboyant sidekick with a couple of sexually charged zingers. The plot doesn’t leave much room for interpretation as the theme of women’s indignity is painfully evident. This is mainly seen through Rosaline’s father, played by Bradley Whitford, delivering lines such as “You’re a woman. You’re not supposed to talk about what you want.” I wouldn’t call this writing thought-provoking or gripping for viewers over the age of sixteen.
Here’s the deal. This film wasn’t made to be taken seriously so to critique it too sharply for its clichéd script would be unfair and, frankly, a waste of time. In debating whether the film is a story of powerful femininity or another exhausting cliché, it’s in my opinion that Rosaline is a heartwarming story of womanhood worthy of a watch. This film is for Shakespeare and rom-com lovers alike, delivering quick laughs and a happy-ever-after ending. If you’ve got some free time and are interested in a comical, modern twist on a classic love story you won’t be disappointed.
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