By Graham Osborne
With Much Ado About Nothing out on DVD's this week, Graham goes over this years brilliant movie.
This film should have done so much better. Released on the same day as Man of Steel and only in select cinemas this film was going to suffer. Then again, due to its shoestring budget and the relatively poor financial performance of this summer’s blockbusters, it may just be the surprise hit of the year.
With Much Ado About Nothing out on DVD's this week, Graham goes over this years brilliant movie.
This film should have done so much better. Released on the same day as Man of Steel and only in select cinemas this film was going to suffer. Then again, due to its shoestring budget and the relatively poor financial performance of this summer’s blockbusters, it may just be the surprise hit of the year.
Much Ado About Nothing is a brilliant film, telling the classic Shakespearean story in a modern day setting, whilst keeping the traditional dialogue, it’s very similar to Baz Luhrman’s Romeo and Juliet.
Practically every member of the cast is a Whedon Alumnus; it was quite a fun experience trying to work out which film or TV programme the actors had previously worked in with the director. Alexis Denisof (Angel) is Benedick, alongside Amy Acker who takes the role of Beatrice, as the main couple within the story. Both play their parts wonderfully, along with Clark Gregg (fresh from working with Whedon on The Avengers) as Leonato (a role previously intended for Anthony Head) and the ever fantastical Nathan Fillion as Dogberry, Chief of Police.
Practically every member of the cast is a Whedon Alumnus; it was quite a fun experience trying to work out which film or TV programme the actors had previously worked in with the director. Alexis Denisof (Angel) is Benedick, alongside Amy Acker who takes the role of Beatrice, as the main couple within the story. Both play their parts wonderfully, along with Clark Gregg (fresh from working with Whedon on The Avengers) as Leonato (a role previously intended for Anthony Head) and the ever fantastical Nathan Fillion as Dogberry, Chief of Police.
Though Captain Tightpants decided to go with a more practical suit this time.
The dialogue of the film is all in the original Shakespeare. This creates a small mental hiatus between the film starting and the viewer acclimatising to the American voices saying the Bard’s lines (at least for us Brits!), but once over that hurdle goes away the play is as delightfully done as any RSC version. The love that has clearly gone into this work of art is spectacular. The cast most definitely adore their roles, and throw themselves into them with a passion. Some - literally - more than others, as you get to watch Alexis Denisof throw himself around the garden as he eavesdrops on a conversation between three other characters, and then begins a “sensual” workout to try and seduce Amy Acker. Nathan Fillion also has a number of sterling moments as Chief of Police, with his numerous malapropisms, and a delightful sight gag regarding lost car keys.
This film is an absolute delight to watch. Joss Whedon’s directing and cinematography are wonderful, and the cast truly embody the spirit of the play, so go and buy a copy right now. It’s the little gems (sometimes performed by big name casts) like this that make cinema-going a truly unique, hugely enjoyable experience. If nothing else, it’s a change of pace from the current trends of cinema.
Enjoy a drink with the film. Though if you do it in the pool, please be responsible.
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