The image of iconic faces of saints is another one that is prevalent throughout Luhrmann’s film. They can also be seen in a striking scene in the chapel as Romeo approaches Juliet who lies ‘asleep’ on the front altar. Crosses can be seen in the back seat of the Montagues’ limousine, etched into the wind shield of Balthazar’s car and across the rear wall of the elevator.
It can be argued that this almost cheapens the notion of religion.
Statues and holy icons are evident in almost every scene of the film. Yet while this is notably foregrounded to highlight the position of the Church, in the Luhrmann version, the significance of religion is more conspicuous. In Zeffirelli’s version, a church bell rings as the fighting breaks out. Throughout both films, significant use is made of religious icons.
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