I’m not a ‘purist’ when it comes to film adaptations of Shakespeare’s plays. I don’t expect the actors to be forever prancing around in tights and spouting Laurence Olivier-flavoured oratory. But ‘modern’ adaptations can sometimes inject just a little too much of the director’s personal vision for my taste. This is not at all the case in Joss Whedon’s “Much Ado About Nothing”.
It’s a sparkling interpretation. Fast paced (with such a script, how could it not be?) Uproariously funny, yet with a hint of tragedy in the wings. Amy Acker is wonderful as Beatrice and Alexis Denisof equally good as Benedick.
The movie is shot entirely in black and white, a reference apparently to the screwball comedies of the 30’s and 40’s such as “Bringing Up Baby” which I, for one, have always loved.
It’s a sparkling interpretation. Fast paced (with such a script, how could it not be?) Uproariously funny, yet with a hint of tragedy in the wings. Amy Acker is wonderful as Beatrice and Alexis Denisof equally good as Benedick.
The movie is shot entirely in black and white, a reference apparently to the screwball comedies of the 30’s and 40’s such as “Bringing Up Baby” which I, for one, have always loved.
Watching the movie in Nelson’s newly refurbished movie theatre was a joy. Especially hearing the belly-laughs from fellow spectators as they watched Benedick’s strange contortions, as he struggles to keep out of sight while overhearing his friends speak of Beatrice’s unexpected love for him. I gasped and laughed simultaneously as I watched Beatrice, laundry basket under her arm, crash down some stairs the moment she learns of Benedick’s equally unexpected love for her.
How marvelous to see that old William hasn’t lost his touch.
How marvelous to see that old William hasn’t lost his touch.
Any production of Much Ado must give ample opportunity for Dogberry and his crew of misfits to shine, and Whedon doesn’t disappoint. Nathan Fillion admirably avoids the temptation to make Dogberry quirky. His Dogberry is utterly serious and sincere which makes his malapropisms doubly funny. In his very last scene, he and Verges try to make a dignified exit, only to approach their car and realize that the keys are in the vehicle and they have locked themselves out! A bit I’m sure Shakespeare himself would have used if he could.
I very much enjoyed Kenneth Branagh’s 1993 production of Much Ado which was very different in style, yet I can’t say I enjoyed Whedon’s less. Is there a greater tribute one could give to Shakespeare than to declare his work capable of multiple interpretations, each equally good? Bravo, Mr. Whedon. You have added to the canon of Shakespearean film a fine movie, rewarding both for the novice and connoisseur.
I very much enjoyed Kenneth Branagh’s 1993 production of Much Ado which was very different in style, yet I can’t say I enjoyed Whedon’s less. Is there a greater tribute one could give to Shakespeare than to declare his work capable of multiple interpretations, each equally good? Bravo, Mr. Whedon. You have added to the canon of Shakespearean film a fine movie, rewarding both for the novice and connoisseur.
