Zeffirelli chooses to end his film with a leisurely procession through the market square, where the film opened, with the two young lovers dressed in their formal attire. marriage. Zeffirelli's ending seems to suggest a cyclical nature to the story of the young lovers, that they were always destined to return to where the action began, now in very different circumstances. The two rival families are present, united in their mourning, but Zeffirelli chooses to leave the resolution of the conflict, for the most part, open-ended. The suggestion of the two families coming together is suggested as the two families file into the church, offering each other words of comfort and hugs. Zeffirelli and Luhrmann choose to omit lines 296-304 from V.3, in which the two fathers agree to put aside their conflict in memory of their children. However, Jack Jorgens argues that Zeffirelli's final long panoramic view of the walls of Verona suggests "a final symbol of division, of war, of imprisonment, of continuity with the past." If this conflict is over, the conflict itself is not. »15 Jorgens's idea might explain why this film resonated so widely in the culture in which it was screened, as rebellious students and young civil rights protesters increasingly saw that victory every battle