It's been suggested that there exist 3 ways to film a Shakespeare comedy: Traditional-style [ala Hoffman's A Midsummer Night's Dream or Branagh's Much Ado About Nothing], teen-modern-update-style [ala She's the Man or 10 Things I Hate About You], or Romeo and Juliet-except-with-a-happy-ending-style [ala High School Musical or Grease]. Each, though formulaic, has led to its own brand of success. So when it was announced that Joss Whedon, the patron saint of geekdom, would film Shakespeare's Much Ado About Nothing, many were dubious. After all, this was a guy whose talents lay in assembling superheroes and slaying vampires. Things got even crazier when Whedon decided to film the entire thing over a weeklong break from filming The Avengers...in his house [to me, it sounded like a glorified home video project].
But this modern adaptation of the original screwball comedy had one thing going for it: Whedon also decided to use Shakespeare's original script in its entirety. It then turned out that Whedon's house was designed by his architect wife and was actually more like a mansion. Add in Clark Gregg [aka Agent Phil Coulson] and a plethora of Buffy alumni, and things started looking up. In fact, it was almost like a marriage of geekdom and Shakespeare. And so, while the White House was being attacked by humans and zombies alike at the multiplexes, we also got a Shakespeare adaptation worthy of the Bard himself.
The story is a familiar one: While visiting the rich Leonato, Claudio falls in love with Leo's daughter, Hero. After his best friend, Don Pedro, gets the two together, everyone turns their attentions to Hero's cousin Beatrice, who has sworn off love. Their mission is to set her up with Claudio's companion, Benedick. The only problem is that both Bs hate each other. Oh, and Don Pedro's brother, Don Jon, hates happiness and love and ergo tries to stop Claudio and Hero's wedding.
We all know how this is going to go. But getting there sure is a blast.
The story is a familiar one: While visiting the rich Leonato, Claudio falls in love with Leo's daughter, Hero. After his best friend, Don Pedro, gets the two together, everyone turns their attentions to Hero's cousin Beatrice, who has sworn off love. Their mission is to set her up with Claudio's companion, Benedick. The only problem is that both Bs hate each other. Oh, and Don Pedro's brother, Don Jon, hates happiness and love and ergo tries to stop Claudio and Hero's wedding.
We all know how this is going to go. But getting there sure is a blast.
My Rating: 8/10
The Good: For a film about nothing, there's quite a bit to make much ado over here. A few of the standouts:
1) The Script. You can credit this one to Shakespeare, who actually receives a credit as writer. Many have commented on the timelessness of Will's plays, and his 16th-century script is every bit as hilarious set in modern-day America as it is in the Renaissance. The wit is still fresh, and the situations are still relatable. While the old-fashioned language takes a little getting used to, it ultimately flows with resonance. Indeed, Will is possibly the best wordsmith of his time, using words with both cleverness and ingenuity, and it shines through here.
2) The Direction. Of course, even a movie with the best script ultimately fails without adept direction, and Joss Whedon rises to the challenge with more than competence. Left with the task of bringing Shakespeare's hilarity to the big screen, Whedon adeptly balances the film between screwball comedy and sophisticated class. Classic slapstick scenarios and well-placed physical comedic situations multiply the humor, while a jazz-filled score [did I mention that Whedon and his brother did the music themselves?] and luscious camera angles evoke the class. To say nothing of his house--the vaulted ceilings and secret passages provide the perfect setting for people who have nothing better to do than gossip about each other's lives. One scene in particular, in which the plotters attempt to convince Benedick and Beatrice separately of their love for one another, is Oscar-worthy in and of itself, using creativity and slapstick to convey one of Shakespeare's classic scenes.
3) The Acting. The final ingredient to Much Ado's success is its cast. Although I was disappointed not to find Neil Patrick Harris among the Whedon Hall of Fame-ers present, practically everyone entertains. First of all, there's Clark Gregg, and he's his typical awesome Coulson-y self as Leonato. Fran Kranz and Jillian Morgese enchant as Claudio and Hero, the lovestruck couple at the center of the ado. Sean Maher clearly has a blast as the scheming Don Jon. Reed Diamond delights as Don Pedro. Alexis Denisof will certainly steal some hearts as Benedick. Nathan Fillion absolutely steals the show late in the game as an officer called in to investigate Hero's "death" [just see it]. However, this is clearly Amy Acker's movie. Her Beatrice is at once sympathetic and witty, casually spouting out Shakespearean verse as if it were everyday language. Most importantly, the entire cast blends seamlessly together, thrilling and ravishing the audience as they interact.
The Bad:
1) Slowness. As with many stage plays adapted for the screen, the action slows down in the middle, leaving audiences squirming and checking phones for a few minutes. Luckily, it is just that--a few minutes.
2) Conrade. One of Whedon's updated moves was to change Don Jon's accomplice, Conrade, to a girl. Now, I have nothing against gender-bending, but Whedon uses the opportunity to add in absolutely unnecessary [though mercifully brief] sexual content in a couple scenes. Moving on.
3) The Language. Not profanity; Shakespeare's original text. Flowing and gorgeous though it is, it takes a few minutes to get used to. If you truly want to enjoy the movie, my advice is to give up knowing exactly what the characters are saying.
The Message: One thing to remember about the Bard is that his comedies rarely, if ever, feature messages of grandeur or touching moments. However, Much Ado showcases a time when honor and virtue were held high, and the film clearly states that they are worth attaining and keeping. The movie also features a positive attitude towards both marriage and fidelity, somewhat of a rarity with today's fare. Finally, in satirizing gossip and its "scandalous" effects, Much Ado About Nothing gently teaches that it's always better to keep your thoughts and schemes to yourself.
The Bottom Line: Much Ado About Nothing was my #1 "must-see" film of the summer, and it did not disappoint. Rather, it is a film that entertains and enchants. In fact, it's the most fun you'll have at the movies this summer. The classiness and black-and-white give all the feel of the film noir genre, while Whedon's direction and the brilliant actors bring Shakespeare's classic to new levels of hilarity. A few missteps cloud the proceedings, but never dampen the experience. Indeed, Much Ado About Nothing plays out much like the cocktail party depicted near its opening: sophisticated, yet never taking itself too seriously.
And that is worth making some ado over.
1) The Script. You can credit this one to Shakespeare, who actually receives a credit as writer. Many have commented on the timelessness of Will's plays, and his 16th-century script is every bit as hilarious set in modern-day America as it is in the Renaissance. The wit is still fresh, and the situations are still relatable. While the old-fashioned language takes a little getting used to, it ultimately flows with resonance. Indeed, Will is possibly the best wordsmith of his time, using words with both cleverness and ingenuity, and it shines through here.
2) The Direction. Of course, even a movie with the best script ultimately fails without adept direction, and Joss Whedon rises to the challenge with more than competence. Left with the task of bringing Shakespeare's hilarity to the big screen, Whedon adeptly balances the film between screwball comedy and sophisticated class. Classic slapstick scenarios and well-placed physical comedic situations multiply the humor, while a jazz-filled score [did I mention that Whedon and his brother did the music themselves?] and luscious camera angles evoke the class. To say nothing of his house--the vaulted ceilings and secret passages provide the perfect setting for people who have nothing better to do than gossip about each other's lives. One scene in particular, in which the plotters attempt to convince Benedick and Beatrice separately of their love for one another, is Oscar-worthy in and of itself, using creativity and slapstick to convey one of Shakespeare's classic scenes.
3) The Acting. The final ingredient to Much Ado's success is its cast. Although I was disappointed not to find Neil Patrick Harris among the Whedon Hall of Fame-ers present, practically everyone entertains. First of all, there's Clark Gregg, and he's his typical awesome Coulson-y self as Leonato. Fran Kranz and Jillian Morgese enchant as Claudio and Hero, the lovestruck couple at the center of the ado. Sean Maher clearly has a blast as the scheming Don Jon. Reed Diamond delights as Don Pedro. Alexis Denisof will certainly steal some hearts as Benedick. Nathan Fillion absolutely steals the show late in the game as an officer called in to investigate Hero's "death" [just see it]. However, this is clearly Amy Acker's movie. Her Beatrice is at once sympathetic and witty, casually spouting out Shakespearean verse as if it were everyday language. Most importantly, the entire cast blends seamlessly together, thrilling and ravishing the audience as they interact.
The Bad:
1) Slowness. As with many stage plays adapted for the screen, the action slows down in the middle, leaving audiences squirming and checking phones for a few minutes. Luckily, it is just that--a few minutes.
2) Conrade. One of Whedon's updated moves was to change Don Jon's accomplice, Conrade, to a girl. Now, I have nothing against gender-bending, but Whedon uses the opportunity to add in absolutely unnecessary [though mercifully brief] sexual content in a couple scenes. Moving on.
3) The Language. Not profanity; Shakespeare's original text. Flowing and gorgeous though it is, it takes a few minutes to get used to. If you truly want to enjoy the movie, my advice is to give up knowing exactly what the characters are saying.
The Message: One thing to remember about the Bard is that his comedies rarely, if ever, feature messages of grandeur or touching moments. However, Much Ado showcases a time when honor and virtue were held high, and the film clearly states that they are worth attaining and keeping. The movie also features a positive attitude towards both marriage and fidelity, somewhat of a rarity with today's fare. Finally, in satirizing gossip and its "scandalous" effects, Much Ado About Nothing gently teaches that it's always better to keep your thoughts and schemes to yourself.
The Bottom Line: Much Ado About Nothing was my #1 "must-see" film of the summer, and it did not disappoint. Rather, it is a film that entertains and enchants. In fact, it's the most fun you'll have at the movies this summer. The classiness and black-and-white give all the feel of the film noir genre, while Whedon's direction and the brilliant actors bring Shakespeare's classic to new levels of hilarity. A few missteps cloud the proceedings, but never dampen the experience. Indeed, Much Ado About Nothing plays out much like the cocktail party depicted near its opening: sophisticated, yet never taking itself too seriously.
And that is worth making some ado over.
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