“Feisty” and “sassy” are two affections that our Prince of Cats collects throughout William Shakespeare's Romeo and Juliet (Ii107, Iv82). Based on these descriptors, it is not surprising that Tybalt is often considered the main antagonist of the play. After all, Tybalt, proud and quick to anger, kills Mercutio and, with his own death, sends the two lovers on the inevitable path of tragedy and mutual destruction. However, it is clear that the character can be treated with more nuance and dimension than such a simple interpretation would allow. Comparing the depictions of Tybalt in Franco Zeffirelli's 1968 film adaptation with Baz Luhrmann's 1996 version, the extent of Tybalt's antagonism proves remarkably variable. Zeffirelli's Tybalt played by Michael York opts for an arguably more sympathetic portrayal of Juliette's cousin. While certainly not faultless, it lacks the more violent and villainous nature of the Luhrmann portrayed by John Leguizamo. Both are ultimately brought down by pride, but Tybalt of York acts on the basis of an overdeveloped sense of family honor. Leguizamo uses this as an outlet for deeper hatred. These conclusions will be constructed, mainly, through the analysis of three key scenes present in the two films. These include Tybalt's first appearance during the opening brawl, the masquerade, and the duels with Mercutio and Romeo. An outline of each film's version of the scene will be accompanied by a discussion of the main differences and similarities with reference to the text, where applicable. The argument will culminate with a re-examination of Tybalt's character and role as an antagonist. To remove any ambiguity, we will refer to that of Luhrmann ...... middle of paper ....... This is supported by his relative indulgence during the masquerade, his more developed relationship with his aunt, the tone initially playful about his duel with Mercutio, and his reaction to injuring Mercutio. Conversely, Tybalt L uses these perceived infractions to excuse his tendency toward violence. He more easily fulfills the role of a traditional antagonist and is punished for it. Zeffirelli's Prince of Cats, however, can be described as "cursed" because he is fiery and, as all who fit this description must do, suffers as a result (Prologue.6). Works Cited Romeo + Juliet. Real. Baz Luhrmann. Twentieth Century Fox Film Corporation, 1996. Film. Romeo and Juliet. Real. Franco Zeffirelli. Paramount Pictures, 1968. Film. Shakespeare, William. Romeo and Juliet. Ed. Brian Gibbons. London: Routledge, 1980. Print. The Arden Edition of the Works of William Shakespeare.