Review of Much Ado About Nothing (2013) by Indu P — 17 Jun 2013

It's not an easy job, taking what is perhaps one of the most popular plays by William Shakespeare and giving it a modern look and in American accents too. But Joss Whedon does it full justice and more.

I will refrain from commenting on the plot, because, well, you should know it by now. If not then you better go and watch the film.

An imaginative take on the timeless classic makes this production highly enjoyable. Mr Whedon's adaptation of Much Ado About Nothing is fresh, clever and most importantly accessible. I was very impressed to see that more than half the audience in the theatre was made of the youth demographic. And they seemed to be thoroughly loving it.

Choosing to keep the Elizabethan English, Mr Whedon transforms the setting of the movie to a wealthy estate (presumably a politician's? house) and shoots in sublime black and white. Which I think was a very clever ploy as it helps bridge the difference between the old English and the modern setting.

Swords are replaced by guns and gowns and doublets are replaced with fashionable dresses and suits.

You would errantly think that the American accents might jar but every line is said so convincingly that you forget that the actors are not speaking the Kings, or should I say Queen's, English. In fact some parts were believable because of the very Americanness of the Production.

The cast is chosen well and after seeing the film, I cannot imagine anybody else playing the roles. It is well known that to be able to complete the film in the short time of 12 days Mr Whedon called on friends and actors who used to be part of the Shakespearean readings that were routinely held at his house. The ease with which the characters interact with each other shows the camaraderie of old acquaintance.

Alexis Denisov and Amy Acker ARE Benedick and Beatrice. Wit and intelligence reflects in their eyes and in their playful banter. In the beginning whether they are mocking or taking jibes at each other there is a subtle hint of hidden feeling (left over from a cleverly set up beginning) that blooms into a fiery passion. This should'nt come as surprise but packs a punch. The chemistry between the two actors is palpable and tense. In emotional scenes the two actors reveal depths of character while they revel in the funny scenes. Both seem to enjoy the slapstick bits that had the audience shout out with laughter.

Reed Diamond as Don Pedro particularly shines when he is playing cupid. There is a twinkle of mischief in his eyes that is infectious. Clark Clegg as Don Leonato holds his own as the gracious host and later on as the embittered father who must avenge the wrong against his daughter.

Sean Maher the devilishly handsome antagonist is handsomely devilish as Don John. There is a genteel menace about him which is ably conveyed through the low tones he uses to speak his lines. Mr Whedon made his character seem even more depraved by turning Conrade into a woman, played by Riki Lindhome. She is his able collaborator in every way. Their scene together is perhaps the most titillating, yet very disturbing at that. Even more so when Spencer Treat Clark, as Boracchio is detailing their evil plan and the two carry on as if he is not there while engaging in talk with him. Brilliant.

Frank Kranz and Jillian Morgese as Claudio and Hero are apt for their roles. Yet I felt that they made less of an impact as compared to others. Even though they both had challenging scenes somehow it was overshadowed by the others in the scenes.

And last but never the least Mr Nathan Fillion shines in the small role of Dogberry. He and Tom Lenk are hilariously obtuse and literally steal every scene they are in. Mr Fillion's 'I am an ass' is definitely going to an oft repeated refrain.

Everything about the movie is stylish and lovingly handled. Much has been written about Mr Whedon shooting the film at his own home and every scene is set perfectly. The house becomes another character in the movie, perhaps unintentionally. There are numerous scenes that come to mind but my two favourite are the masked party (especially the trapeze artists) and the candlelit march for Hero lead by Claudio. The two scenes are polar opposite of each and yet are held together by the beautiful character of the house.

I must also comment on a beautiful musical arrangement. Especially 'Sign No More' played during the masked party scenes, which stays with you. I am stilling humming the song. You can listen to this wonderful song here.

With his loving rendition of the Much Ado About Nothing, Mr Whedon has made Shakespeare & of course ye olde Elizabethan language fashionable 'il'faith'. The Bard would be pleased.