Much Ado About Nothing: IMDB Synopsis
A modern retelling of Shakespeare’s classic comedy about two pairs of lovers with different takes on romance and a way with words.
William Shakespeare. The bane of a young school pupil’s life back in the UK: a chore and a slog to read and understand at times. Outside of that early educational “forced” appreciation and with a few year’s more perspective and maturity, people can garner a different view. Shakespeare is quite simply the greatest playwright in history. His themes and tales are timeless, resonating magnificently still today. People are exposed to his writings either knowingly or unknowingly, with film productions in a classical approach such as Othello (1965, 1995), Richard III (1955) and The Tempest (2010) to name a few, or through adaptations modernizing or drawing inspiration from his works. This includes; 10 Things I Hate About You (1999), based on The Taming of the Shrew, ‘O’ (2001) a loose modern retelling of Othello and more obscure works like My Own Private Idaho (1991), which draws from Henry IV/V, and Warm Bodies (2013) with its obvious nod to the star-crossed lovers of Romeo and Juliet. Shakespeare hit themes that are constants in our lives even today; love, betrayal, greed, tragedy, and did so in ways that have not been surpassed since. One of the more popular of recent times is Baz Luhrmann’s Romeo and Juliet (1996), a bold and colorful portrayal of the classic tragedy. What we see here from director Joss Whedon is a far more restrained piece adapting a more intimate comedic story.
Whedon is well known and regarded for his work as creator and showrunner of Buffy the Vampire Slayer, Angel , Firefly and Dollhouse, as well as his contributions to cinema, co-writing Toy Story (1995), writing and directing Serenity (2005), co-writing and producing The Cabin in the Woods (2012), and recently writing and directing The Avengers (2012), currently the third highest-grossing film of all time. It is during that most recent success that Whedon was subjected to a contractual vacation during post-production. Instead of heading to a beach or on a cruise before returning to complete The Avengers, he instead spent his time bringing together a cast of actors from his previous works and over 12 days shot Much Ado within the confines of his own home in Santa Monica, on what he himself described as a microbudget. What came of those 12 days is a testament to Whedon as a skilled director, the array of talent he was able to call on, and the persevering quality of Shakespeare’s writings.
“I had rather hear my dog bark at a crow, than a man swear he loves me.”
The plot is relatively straightforward, but it is the exchanges and relationships that require attention. In brief, the story opens as Prince Don Pedro (Reed Diamond) returns from war to visit the home of Governor Leonato (Clark Gregg) accompanied by Officer Benedick (Alexis Denisof) and his friend Claudio (Fran Kranz), who upon arrival, falls instantly in love with the Governor’s daughter Hero (Jillian Morgese). Benedick, a witty, courageous soldier and confirmed bachelor, finds his match in Hero’s cousin Beatrice (Amy Acker), a sharp-tongued woman who pours scorn over the idea of love and marriage. Also in Don Pedro’s party is his scheming brother Don John (Sean Maher) and his cohorts who seek to disrupt the merriment and marriage proceedings. What follows is a merry dance of love, lies, wit and intrigue set against the backdrop of a house in Santa Monica where our troupe take the stage.
As mentioned earlier, the cast are actors mostly drawn from past Whedon productions and they do an admirable job. Amy Acker is note-perfect as Beatrice and her sparring with Benedick (Denizof) really is the highlight of the film. Also of note is Fran Kranz (Dollhouse, The Cabin in the Woods) who manages to imbue the quieter moments of the film with priceless expressions and reactions that verge on the slapstick. That coupled with the decision to film it in black and white gives the film a 1930’s comedy feel that works very well with its frivolity and underscores the more serious dramatic scenes in a very intense fashion. Although the sparring of Benedick and Beatrice is the core of the story, special mention must be made for Nathan Fillon (Firefly, Castle) who takes on the role of Dogberry and Tom Lenk (Buffy the Vampire Slayer) as Verges. Here, they play the roles of policemen supervising security of Leonato’s house. While pivotal to discovering the plot to disrupt the marriage of Hero and Claudio, their contribution to the film with a good cop/bad cop routine coupled with Dogberry’s malapropism mean they are are unwitting heroes of the piece on top of the hilarious comedy double act. In a play, casts typically work together on productions for months, creating bonds and relationships behind the scenes that translate onto the stage. As most of the people assembled here by Whedon are from his previous works, there is a natural ease to which they assume their roles and spar with each other and it really is what makes the film a rousing success.
“I wish my horse had the speed of your tongue.”
For those concerned about understanding the language of the original Shakespeare, it is initially jarring but the cast deliver their lines is a clear way, layered with intent. It is easy to distinguish the whimsical lovers from the malicious members of the cast seeking to undermine the relationships. The banter, the layers, and the subtext are all features of the bard’s work. There are abbreviations, words lost to time and double entendres littered throughout and while it can take some effort to dip into the ‘old English’ it ultimately rewards. A refreshing reminder of when language and conversation was a more pivotal part of our relationships rather than the truncated and frankly offensive text speak of today.
“When I said I would die a bachelor, I did not think I should live till I were married.”
There are a number of times in Shakespeare’s work where belief must be suspended a bit more than most modern productions; for example, a masked person imitating someone else to set up a scheme or someone falling in love upon first sight and suspending all rational thought. In the past this was accepted, a limitation of the condensed scope and time frame of a play, so here Whedon sets the players against a backdrop of free flowing alcohol. Parties are thrown, plots are made over tequila shots ,and sips from hip flasks are taken to edge off obvious hangovers. These little tweaks help the flow, accessibility, and acceptance of the film as aside from the modern setting, and Whedon chose not to really alter and update the text in other ways. The only one of note is the gender changing of one of Don Johns’ companions to a female. This changed what was originally a simple, straightforward conspiracy scene into a very memorable, sexually-charged reinterpretation. Overall we get a simple and charming piece of cinema that I enjoyed thoroughly. Whedon delivered a film with a very deft hand, letting the the words and the actors deliver. Peppered with a few cheeky additions; a nod here, a fistbump there and a deft muffin grab to name a few, he used the medium of film to really put his own spin on a great tale.
In summary, while I never considered Shakespeare and Whedon together before, it is a perfect marriage of the two talents. The dialogue is impressively delivered by a great ensemble in a production that walks an intimate line, yet has a number of joyous flourishes throughout. In the midst of summer blockbuster season, it is a perfect breath of fresh air for those sick of explosions and underwhelming plot lines. A real delight.
