On the rare occasion that William Shakespeare’s comedy “Much Ado About Nothing” comes up in conversation, most people think of some sort of adaptation, whether it’s an awkward effort by a high-school drama club or KennethBranagh’s star-studded 1993 version.
It’s been 20 years since Branagh’s film hit theaters, but now an updated version is coming to the silver screen from a rather unexpected source. Director Joss Whedon is best known for his sci-fi television and action films, but he’s turned his creative eye to Shakespeare.
Filmed in just 12 days at Whedon’s own house, Much Ado About Nothing features Whedon favorites, including NathanFillion (Firefly) and Clark Gregg (The Avengers). The film tells the familiar tale of Don Pedro’s (Reed Diamond) victorious visit to Leonato’s (Gregg) home in Messina with officers Benedick (Alexis Denisof) and Claudio (FranKranz) and his brother and enemy Don John (Sean Maher). Claudio falls for Leonato’s young daughter Hero (Jillian Morgese), and Benedick spars with Hero’s cousin Beatrice (Amy Acker).
Though the story remains the same right down to the Shakespearean language, Whedon manages to make his adaptation unique. The characters speak Shakespeare’s words but wear modern clothes in a contemporary house. The entire film is shot in black and white, which lends a certain, old-time magic to Leonato’s wild house parties.
The anachronistic clashes of this film are reminiscent of Baz Luhrmann’s Romeo + Juliet and The Great Gatsby, but Whedon’s style is far more charming. There are no rowdy musical numbers, but rather a gentle score composed by Whedon himself. The lyrics to both of the two songs with words are actually songs from the original “Much Ado About Nothing” put on by Shakespeare.
However, the film is a bit difficult to get used to at first. Shakespeare’s language is complicated and quick-witted, and getting the entire audience to understand the same joke at the same time is quite a feat. Enjoying this film takes work, but it is definitely worth the effort.
Of course, Beatrice and Benedick’s antics elicit widespread laughter. Acker and Denisof had big shoes to fill after Emma Thompson and Branagh’s famous performances as the constantly disputing pair, but they are up to the task. Young Claudio and Hero are adorably in love and perfectly complement Beatrice and Benedick’s feisty relationship, but Fillion’s turn as Dogberry, the incompetent constable, is a bit heavy handed. The script was just as challenging for the actors as it is for the audience, andFillion seems to struggle.
The entire cast deserves credit for successfully pulling off Shakespeare’s quick pacing and complicated comedic timing. Under Whedon’s direction, the cast works cohesively to take ownership of the dialogue and the play itself.
The novelty of Whedon’s Much Ado About Nothing lies mostly in its style and direction, rather than in the acting. The director’s whimsical touch is everywhere, from the musical score to the use of his own house as the setting. This sweet adaptation of one of Shakespeare’s most popular comedies shines in its own quirky way.
