Much Ado About Nothing is a new page in the career of Joss Whedon. Whedon, doing Shakespeare, is something of a film fan's dream come true. But sometimes such "dreams come true" fall on their face.
This one does not.
This stylish reimagining of the Shakespeare comedy is as seamless and funny as any Shakespeare comedy ever put on film. Much has been made of how the movie was shot in 12 days or so at Whedon's house in between shooting and editing The Avengers. That is an interesting bit of trivia but you'd never know it from just watching the film. The haste is never in evidence in the finished product. Maybe the urgency was a blessing.
There isn't a bad thing to say about this movie. Everyone in the cast, from small roles to the leads shine. Alexis Denisof as Benedick and Amy Acker as Beatrice have such chemistry you wonder if watching this movie will make their respective spouses a little nervous. More likely the two have residual chops from their days together on Whedon's Angel.
The two are not the only Whedon alumnus in the film; Nathan Fillion of Buffy The Vampire Slayer, Firefly and Serenity, Clark Gregg of The Avengers, Reed Diamond of Dollhouse, Fran Kranz of The Cabin in the Woods and many others. In fact, most of the people in the film have had at least bit parts in Whedon movies or television shows. That is an ancillary part of the fun of this movie; you get to figure out the various actors connections to Whedon. Some are easy. Some are unrecognizable from previous roles.
This one does not.
This stylish reimagining of the Shakespeare comedy is as seamless and funny as any Shakespeare comedy ever put on film. Much has been made of how the movie was shot in 12 days or so at Whedon's house in between shooting and editing The Avengers. That is an interesting bit of trivia but you'd never know it from just watching the film. The haste is never in evidence in the finished product. Maybe the urgency was a blessing.
There isn't a bad thing to say about this movie. Everyone in the cast, from small roles to the leads shine. Alexis Denisof as Benedick and Amy Acker as Beatrice have such chemistry you wonder if watching this movie will make their respective spouses a little nervous. More likely the two have residual chops from their days together on Whedon's Angel.
The two are not the only Whedon alumnus in the film; Nathan Fillion of Buffy The Vampire Slayer, Firefly and Serenity, Clark Gregg of The Avengers, Reed Diamond of Dollhouse, Fran Kranz of The Cabin in the Woods and many others. In fact, most of the people in the film have had at least bit parts in Whedon movies or television shows. That is an ancillary part of the fun of this movie; you get to figure out the various actors connections to Whedon. Some are easy. Some are unrecognizable from previous roles.
The film sticks pretty close to the play. Sometimes with updated Shakespeare the modern becomes a distraction. Here it never does. Where it actually is even noticeable at all it is used by Whedon for a laugh. The characters wear suits and ties and have cocktail parties. There are tons of small sight gags and physical humor that Whedon tosses into the mix that are unique.
It is often more difficult these days to make Shakespeare as a period piece--frilly costumes and elaborate period sets are as likely to distract from a production as add to it. Even in some modernized Shakespeare trying to go elaborate with the sets works less than well. The 1995 version of Richard III, set in a Nazi Britain, leans too heavily on the imagery and props--even when some of the acting is fine.
There are no distractions from the words here.
It just all works like a charm. It is to be hoped that when Whedon is shooting The Avengers II he calls everyone over to shoot another of the Bard's comedies. How about Twelfth Night?
It is often more difficult these days to make Shakespeare as a period piece--frilly costumes and elaborate period sets are as likely to distract from a production as add to it. Even in some modernized Shakespeare trying to go elaborate with the sets works less than well. The 1995 version of Richard III, set in a Nazi Britain, leans too heavily on the imagery and props--even when some of the acting is fine.
There are no distractions from the words here.
It just all works like a charm. It is to be hoped that when Whedon is shooting The Avengers II he calls everyone over to shoot another of the Bard's comedies. How about Twelfth Night?
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