Based upon the play by William Shakespeare
Adapted For The Screen, Produced and Directed by Joss Whedon
**** (four stars)
If only all home movies were like this one...
After viewing a series of films that have ranged from serious (Richard Linklater's "Before Midnight," Sofia Coppola's "The Bling Ring"), to dark (Zack Snyder's "Man Of Steel"), to pitch black (Seth Rogen and Evan Goldberg's apocalyptic comedy "This Is The End"), I think that I have been longing for a bit of a cinematic palate cleaner. Something lighter and frothier but also not something that I would regret either for just because something is lighter and frothier doesn't mean that it has to lose all sense of artfulness when providing the entertainment. So, how fortunate was I to step into Joss Whedon's terrific adaptation of William Shakespeare's "Much Ado About Nothing," a contemporary film version that provided me with the perfect amount of light and frothy entertainment while also existing as a supremely warm and wonderfully mounted artistic experience. For those of you out there who may feel intimidated at the prospect of taking on Shakespeare in the summer, especially during a period when you just want to have to see a film that is not mentally taxing, I urge to not allow the language to deter you. For me, the best way to experience the beauty of Shakespeare's language is to see it performed, and if you have never seen Shakespeare performed in any medium of the theater or film, I guarantee you that Whedon's production places nearly all 21st century farcical romantic comedies to shame. "Much Ado About Nothing" shows 'em all how it's done.
Utilizing the original text but updating the location to modern day Southern California, "Much Ado About Nothing" is entirely set at the compound of Leonato (Clark Gregg), the Governor of Messina who welcomes the prince Don Pedro (Reed Diamond) into his home after defeating Don John (Sean Maher), the nefarious bastard half-brother to the prince who led an ill fated uprising.
As part of Don Pedro's entourage is the misogynistic and sharp tongued soldier Benedick (Alexis Denisof), who endlessly engages himself in spirited wars of words and sexual tension with Leonato's equally feisty and quick witted niece Beatrice (Amy Acker). Also included, is Benedick's brother in arms Count Claudio (Fran Kranz), who is deeply in love with Beatrice's cousin Hero (Jillian Morgese). Don Pedro decides to play match maker for Claudio and Hero while most of the remainder of the household covertly tries to play match maker with Benedick and Beatrice, two souls who have sworn off marriage and commitment yet are obviously made for each other.
But trouble lurks in the shadows as Don John malevolently attempts to to foil all of the romantic plans and schemes, resulting in an rapidly escalating series of overhead conversations and misunderstandings that have the potential to grow into tragic results. But of course, this is a Shakespeare comedy so no worries as this whole escapade is a grand party. Yet how it all unfolds, falls apart and merges back together again is for our enraptured enjoyment.
Eat, drink and be merry, dear readers, as "Much Ado About Nothing" is an absolutely perfect movie to take in on a hot summer's day or languid summer's evening, so much so that you will wish that you had several glasses of wine alongside you as you watch (and if you see it at the Sundance theater in Madison, you can do just that). Unlike Baz Luhrmann's excellent and extravagant adaptation of "Romeo + Juliet" (1996), Joss Whedon has decidedly approached Shakespeare's material with an elegant minimalism that is also a showcase for a homemade excursion of equal elegance.
By now, I am certain that many, if not all, of you have heard the legend as to how this latest film adaptation of a William Shakespeare play came into existence. Whedon, a Shakespeare enthusiast who often holds readings at his home for kicks, decided to film his adaptation of the play while on a break from post-production work on last year brilliant comic book behemoth "The Avengers." Filmed in luxurious black and white cinematography over only 12 days and at his own home, no less, "Much Ado About Nothing" is precisely the type of personal filmmaking that is of such rare occurrence these days as Whedon not only adapted the text, produced and directed the film, he also served as co-editor, set music to two of Shakespeare's sonnets contained within the original text and even composed the film's score! That very type of hands on filmmaking translated beautifully to the silver screen as the love he obviously holds for the text is palpable and his presentation is not one that felt lugubrious by any means. Throughout he entirety of the film, Whedon's tone is of relaxation, effortless ease and a summer's day breeziness and you cannot help but to be swept away by the good cheer and honest merriment that he and his extremely able cast have prepared for us.
Strong writing and dialogue especially is of such small amounts these days when you go to the movies and by placing the words front and center, Joss Whedon (who is one of those unusually gifted screenwriters himself) is playfully giving the audience and current and future filmmakers a most a valuable lesson into how ridiculous situations and romantic shenanigans can be made truly surprising, rapturously romantic and blissfully gorgeous. In all of the filmed Shakespeare productions I have seen, I think Joss Whedon has been the most successful in wisely making the language the true star of his film rather than any sense of cinematic spectacle. In doing so, he and his gifted cast somehow, someway made this poetic yet archaic langue sound as natural as the language we speak in the 21st century, while also ensuring that the film is a visual treat of clean, crisp subtlety. Not one cast member ever felt to be tongue tied, tripped up or out of their depth as Shakespeare's luxurious words floated from everyone's lips and mouths with the grace of falling leaves.
I was extremely impressed with Reed Diamond's work as I only have known of him through his riveting performance as the scrappy, hotheaded firefighter turned detective on television's outstanding "Homicide: Life On The Street." Sean Maher brought some sinister clouds into the proceedings very effectively and I was also very impressed with Clark Gregg, a veteran character actor who sailed through his role with a dancer's agility and grace. Nathan Fillion is just perfect as the "ass" Dogberry, the buffoonish constable in charge of the Messina night watch. But, the film largely rests upon the shoulders of Alexis Denisof and Amy Acker and they made for a formidable pairing as they each expressed cunning wit, wry playfulness, wondrous verbal dexterity, skillful physical comedy and dramatic heft and poignancy. Acker especially nearly walks away with the film through a few of her briskly delivered put-downs and soliloquies which gave this lighter than air storyline an unexpected sense of righteous feminist anger.
With this adaptation Joss Whedon did make a couple of changes to his otherwise faithful adherence to the original source material. Aside from the contemporary setting, Whedon altered the gender role of one character but mostly, he added the notion of a past affair between Benedick and Beatrice, something that then fuels their bickering (and Shakespeare's dialogue) with a greater purpose, turbulence and urgency. With that. Whedon was also able to make gentle commentaries about 21st century sexual attitudes and gender roles for both men and women. It is a sharply satirical stance as it is smartly compelling and Amy Acker makes the most of every moment. During one section late in the film after Hero has been mistakenly and publicly shamed, Beatrice explodes in a ferociously delivered soliloquy about what she would do to rectify the situation, even as far as revenge, if only she were a man. It is a speech of rage and powerlessness. Yet, what she does do, what she does request of Benedick, in order for him to obtain her hand and love, shows how much power she actually wields, when she is able to utilize that power and the contexts in which men and women actually do or do not have power. Great stuff but again, this film is not a dissertation about sexual politics. "Much Ado About Nothing" is exactly what the title itself suggests and we should just place out feet upright and allow the words and romance to wash over us.
Dear readers, I urge you to not let "Much Ado About Nothing" fall through the cinematic cracks as it is a piece of entertainment that is more memorable and purely entertaining than so many of the films that I have already seen this year. No, it is not a film designed to advance the medium of cinema itself and it is not one to knock you through the back wall of the theater in amazement but I am telling you, there is just not one negative thing that I can say about it. This is a film where a love of language, great writing and love itself carry the day and sometimes that is absolutely all that you need.
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