Cast
Amy Acker
Beatrice
Alexis Denisof
Benedick
Clark Gregg
Leonato
Reed Diamond
Don Pedro
Fran Kranz
Claudio
Jillian Morgese
Hero
Movie Info
Shakespeare's
classic comedy is given a contemporary spin in Joss Whedon's film, "Much
Ado About Nothing". Shot in just 12 days (and using the original text),
the story of sparring lovers Beatrice and Benedick offers a dark, sexy and
occasionally absurd view of the intricate game that is love. (c) Roadside
Attractions
Movie Review: ‘Much
Ado About Nothing
They say the Lord
works in mysterious ways. Frankly, the Big Guy (or Gal) has got nothing on Joss
Whedon. Apparently, the stress of putting together a billion dollar superhero
epic involving many of Marvel’s main movie icons wasn’t enough for the ‘Buffy the
Vampire Slayer’ savant. So while on contractually mandated vacation from ‘The
Avengers’ post-production, Whedon got together with his wife, Kai Cole, called
up cinematographer Jay Hunter, and invited a few dozen of his friends to
participate in a 12 day shoot of…an adaptation of William Shakespeare’s famed
comedy of manners. Huh? Like God himself might say, “that man must be crazy.”
A beautiful, contemporized black and white version of ‘Much Ado About Nothing‘ was the result, and it’s a strange,
slightly surreal movie experience. After all, if you’re like many a mainstream
moviegoer, you’ve still got Kenneth Branagh’s splendid, sun-dappled take from
1993 stuck in your head. Featuring his then-wife, Emma Thompson, Denzel
Washington, Keanu Reeves, and Michael Keaton, it was a giddy, joyful
exploration of love, romance, honor, and oddball casting. Whedon’s work is
slightly darker, drained of its bright and shiny sentiments by the choice of a
monochrome backdrop. While the acting is exceptional, the overall tone takes
some getting used to.
Filmed
inside Whedon’s home in Santa Monica and brought up to date, at least as far as
the costuming and accoutrements go, we are introduced to Governor Leonato
(Clark Gregg) who welcomes returning war hero Don Pedro (Reed Diamond) and his
protectors Claudio (Fran Kranz) and Benedict (Alexis Denisof), along with the
Don’s deceptive brother Don John (Sean Maher) and his scheming confidants
Conrade (Riki Lindhome) and Borachio (Spencer Treat Clark). Immediately, there
is a spark between the young Claudio and Leonato’s daughter, Hero (Jillian
Morgese). There is also some long simmering if slightly amorous animosity
between Benedict and Leonato’s niece, Beatrice (Amy Acker). Over the next few
days, Claudio will ask for Hero’s hand in marriage while a jealous Don John
will scheme to break up their engagement.
Streamlining the narrative and adding a bit of welcomed slapstick
along the way, Whedon makes ‘Much Ado About Nothing‘ his own. He takes what some might see
as tired and dated and finds the modern meaning within. Sure, we still get
those slightly odd moments when Benedict and Beatrice step out of the story and
offer up their “I hate love/marriage” soliloquies, but for the most part, the
plot moves along with efficiency and everyone is comfortable with the Bard’s
awkward verse. In fact, when set alongside Branagh’s beloved interpretation,
the slight differences are more readily apparent than the artistic agreements.
The casting is, across the board, a bit better in Branaghs (though we could do
without Reeves, Keaton, and Robert Sean Leonard as Claudio). In fact, Fran
Kranz (who many may remember as the stoner in the Whedon penned horror spoof ‘Cabin in the Woods‘) acts circles around the former
‘House’ co-star.
It’s the
same with Clark Gregg, who balances an inebriated good cheer with a wicked
serious streak should anyone slander his family. The moment when Hero is
accused of being anything less than a lady is a marvel to behold. On the
downside, Denisof and Acker are no Branagh and Thompson. The English actors
familiarity with the material and the ways to bring it to life result in a more
natural, knowing performance. There are times when Whedon’s duo seem to
struggle, eager to please and yet unsure how. This is also the case for Maher,
who makes evil seem much more mild than menacing. Sure, he gets one good moment
(when goading Claudio into checking up on his bride to be) but, for the most
part, he’s more passive aggressive than threatening.
Whedon
knows what he’s working with, however, and uses various camera tricks and
staging ideas to keep the movie from getting bogged down or dull. The scenes
where Benedict and Beatrice are tricked into thinking the other loves them are
expertly crafted, the physical shtick of their eavesdropping never overdone or
silly. Similarly, during a welcoming ‘party’ where Claudio first falls for
Hero, Whedon works the outdoor setting, slyly canvassing the company to come
across important pieces of dialogue. Certainly, there are stumbles (the movie
was made in a mere 12 days, after all) and lack of color occasionally comes
across as antithetical to the passions onscreen.
Yet when you consider the source (always a toughie, even for the
more well-versed modern audience) and the time he committed to making it (right
in the middle of tweaking ‘The Avengers,’ seriously?) Whedon’s ‘Much Ado About Nothing’ is a
wonder. It’s light and engaging, fun without being forced and sparked with the
kind of verbal gymnastics that only Shakespeare could create. Indeed, one of
the best things about this take on the material is that all the actors seem to
get the various jabs and jibes that the Bard put into his comedies. You can
literally see them delight in spewing such well-written put downs. Sure, a
texting teen might cross his or her eyes and think it’s English class again,
but Whedon doesn’t care about them. This is a film for cinematic sophisticates,
not the average smartphone scanning mouth breather.
It’s
also an indication of just how talented a man Whedon really is. Who else would
decide to take a breather from building one of the biggest superhero
blockbusters of all time (and all the accompanying pressure that must have come
along with that) to relax by…making another movie. Indeed, for someone who can
suddenly show up with a masterpiece in hand (like the drop dead brilliant ‘Dr.
Horrible’s Sing-Along Blog’) this appears to be par for the course. If you love
what Branagh did before, you won’t think Whedon improved on it any. If this is
your first introduction to the play or who produced it, you’ll love ‘Much Ado
About Nothing.’ It’s accessible without being wholly arcane, and it’s a true
testament to the skills of the man/men who created it.
