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Much Ado About Nothing (Widescreen/Full Screen)

A Dainty Dish., Jui 1 2005

Par	Themis-Athena (from somewhere between California and Germany) - Voir tous mes commentaires

In "Much Ado About Nothing," that formula works to near-perfection. A comedy of errors possibly written in one of the Bard's busiest years (1599) - although as usual, dating is a minor guessing game - "Much Ado" lives primarily from its timeless characters, making it an ideal object for transformation a la Branagh. Thus, renaissance Sicily becomes 19th century Tuscany (although the location's name, Messina, remains unchanged); and the intrigues centering around the battle of the sexes between Signor Benedick of Padua (Branagh) and Lady Beatrice (Thompson), the niece of Messina's governor Don Leonato (Richard Briers), and their love's labors won - initially the play's intended title; Benedick and Beatrice are a more liberated version of the earlier "Love's Labor's Lost"'s Biron and Rosaline - as well as the schemes surrounding the play's other couple, Benedick's friend Claudio (Robert Sean Leonard) and Beatrice's cousin Hero (Kate Beckinsale) become a light-hearted counterpoint to the more serious, politically charged intrigues of novels such as Stendhal's "Charterhouse of Parma" and "Scarlet and Black:" Indeed, the military campaign from which Benedick and Claudio are returning with Don Pedro, Prince of Aragon (Denzel Washington) at the story's beginning could easily be one associated with Italy's 19th century struggle for nationhood.

While according to the play's conception it is ostensibly the relationship between Hero and Claudio that drives the plot - as well as the plotting by Don Pedro's illegitimate brother, Don John (Keanu Reeves) - Beatrice and Benedick are the more interesting couple; both sworn enemies of love, they are not kept apart by a scheming villain but by their own conceit, and are brought *together* by a ruse of Don Pedro's (although even that wouldn't have worked against their will: "Thou and I are too wise to woo peaceably," Benedick once tells Beatrice.) And while Don John's machinations create much heartbreak and drama once they have come into fruition, the story's highlights are Benedick's and Beatrice's battles of wits; the sparks flying between them from their first scene to their last: even in front of the chapel, they still - although now primarily for their audience's benefit - respond to each other's question "Do not you love me?" with "No, no more than reason," and when Benedick finally tells Beatrice he will have her, but only "for pity," she tartly answers, "I would not deny you; - but ... I yield upon great persuasion; and partly to save your life, for I was told you were in a consumption" - whereupon Benedick, most uncharacteristically, stops her with a kiss.

Branagh's and Thompson's chemistry works to optimum effect here; and while every Kenneth Branagh movie is as much star vehicle for its creator as it is about the project itself, Benedick's conversion from a man determined not to let love "transform [him] into an oyster" into a married man (because after all, "the world must be peopled. When I said I would die a bachelor I did not think I should live - till I were married"!) is a pure joy to watch. Emma Thompson's Beatrice, similarly, is an incredibly modern, independent young woman; and scenes like her advice to Hero not to blindly follow her father's (Don Leonato's) wishes in marrying but, if necessary, "make another courtesy and say, Father, as it please *me*" only enhance the play's and her character's timeless quality.

Yet, while the leading couple's performances are the movie's shining anchor pieces, there is much to enjoy in the remaining cast as well: Richard Briers's Don Leonato, albeit more English country squire than Italian nobleman, is the kind of doting father that many a daughter would surely wish for; and what he may lack in Italian flavor is more than made up for in Brian Blessed's Don Antonio, Leonato's brother. Kate Beckinsale is a charming, innocent Hero and well-matched with Robert Sean Leonard's Claudio (who after "Dead Poets Society" seemed virtually guaranteed to show up in a Shakespeare adaptation sooner or later); as generally, leaving aside the appropriateness of American accents in a movie like this, the Hollywood contingent acquits itself well. Washington's, Leonard's and Brier's "Cupid" plot particularly is a delight (even if the former might occasionally have gained extra mileage enunciation-wise). Keanu Reeves, cast against stereotype as Don John, is a bit too busy looking sullen to realize the role's full sardonic potential: "melancholy," in Shakespeare's times, after all was a generic term encompassing everything from madness to various saner forms of ill humor; and I wonder what - but for the generational difference - someone like Sir Ian McKellen might have done with that role. But as a self-described "plain-dealing villain" Reeves is certainly appropriately menacing. Michael Keaton's Dogberry, finally, is partly brother-in-spirit to Beetlejuice, partly simply the eternal stupid officer; the play's boorish comic relief and as such spot-on, with his tongue firmly planted in his cheek.

The cast is rounded out by several actors who might well have demanded larger roles but nevertheless look ideally matched for the parts they play, including Imelda Staunton and Phyllida Law as Hero's gentlewomen Margaret and Ursula, Gerard Horan and Richard Clifford as Don John's associates Borachio and Conrade, and Ben Elton as Dogberry's "neighbor" Verges. (In addition, score composer Patrick Doyle stands in as minstrel Balthazar.) With minimal editing of the play's original language, a set design making full use of the movie's Tuscan setting, and lavish production values overall, this is a feast for the senses and, on the whole, an adaptation of which even the Bard himself, I think, would have approved.

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Scrumptiously Devious, Mars 3 2002

Par	Rebecca Johnson "SeasonedwithLove.com" (Washington State) - Voir tous mes commentaires

At a sensuous picnic, Beatrice reads:

Sign no more, ladies, sign no more,
Men were deceivers ever,
One foot in sea, and one on shore,
To one thing constant never.
Then sigh not so, but let them go,
And be you blithe and bonny,
Converting all your sounds of woe
Into hey (nonny nonny). (brief translation: what the heck).

Act 2, scene 3, 62-69

In Messina, the governor Leonato, his daughter Hero, and her cousin Beatrice (Antonio's daughter) learn from a messenger that Don Pedro has won victory in a battle and is returning home.

Denzel Washington as the Prince Don Pedro really adds sex appeal to this movie! When he arrives with his soldiers from war there is a moment of excitement when everyone lets their inner child escape and there is a feeling of giddy anticipation and the movie takes on a vigorous life of its own.

This is pure escapism for sure. The Italian villa with lush landscapes, fountains and plenty of shrubs to hide behind for eavesdropping on crucial conversations is just enchanting. It is the perfect place for the story to unfold. Here the prince and his warriors decide to vacation for a month.

The main plot involves two love stories. Hero (Kate Beckinsale) and Claudio (Robert Sean Leonard) are in love and hardly need to be pressured into matrimony.

Benedick (Kenneth Branagh) and Beatrice (Emma Thompson) have a hilarious adversarial type courtship in neither can decide what they really want.

"Thou and I are too wise to woo peaceably."

They have both declared they will never marry. In fact, one assumes it was their desire of their wild hearts all along, but was only revealed in a tortured path of wit and intrigue.

Claudio: [to Hero] Lady, as you are mine, I am yours; I give away myself for you and dote upon the exchange.
Beatrice: Speak, cousin, or (if you cannot) stop his mouth with a kiss, and let not him speak neither.

Don John ("yummy" Keanu Reaves) is of course the evil villan in this story and sets out to destroy the relationship between the beautiful Hero and the handsome Claudio. Like a devil, he manages to create mayhem and then leaves the tortured souls to figure out the details of their salvation. With the sweet Hero slandered and presumed dead, one assumes as sure as there is a thought or a soul, there is no turning back.

There are so many great lines in this play that were included with such flair. This is now my favorite Shakespeare adaptation.

You will laugh with absolute delight
at the antics these characters get up to!

Universal appeal!

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This is a great film, Déc 9 2003

Par	Emma Parker (Santa Barbara CA USA) - Voir tous mes commentaires

It is also extremely funny, watch out for the fool character that Shakespeares does so well.

As a Brit who grew up thriving on Shakespeare plays, trust me, this is worth having in your DVD collection

Top marks from me for this .

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Branagh brings Shakespeare to life!, Nov. 29 2003

Par	Monika "equestrienne_23" (Davis, California) - Voir tous mes commentaires

This screen adaptation of Shakespeare's romantic comedy takes us on a light-hearted adventure of match-making and deceit. Branagh plays Benedick, a soldier in the company of Don Pedro of Aragon and a "professed tyrant" to the female sex who swears he will die a bachelor. Emma Thompson, then Branagh's wife, plays Beatrice, a free-spirited female version of Benedick. The two are engaged in a "merry war" of wits, and constantly offend one another. Their friends, however, see them as the perfect couple and endeavour to bring them together against their own wills.

The second love story is that of Claudio, another favored soldier of prince Don Pedro, played by Robert Sean Leonard, and Hero, a career-starting role for actress Kate Beckinsale. Theirs is a case of love at first sight, and they soon become engaged to be married. Don John, the prince's outcast brother, however, will do anything to destroy the happiness of one of Don Pedro's favored men. He and his henchmen enter into a plot to break up the engagement.

Don Pedro is played by Denzel Washington, and the role highlights his amazing versatility and talent as an actor. This is definitely one of his best performances. It is also refreshing to see a movie where the good brother is played by a person of color and the bad brother, Don John (Keanu Reeves) is white. Branagh made an excellent casting choice and both characters shine.

Comic relief is provided by an outstanding performance of Michael Keaton as Dogberry, the local sheriff who's more than a little off his rocker, but harmlessly entertaining. Delightful performances are also given by Richard Briers as Leonato, Brian Blessed as Antonio, and Richard Clifford as Conrade.

With great acting, verbal and physical comedy, and a wonderful musical score, this film is a definite must-see for any fan of Shakespeare and Kenneth Branagh. A truly delightful movie!

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Hilarious Film Adaptation, Nov. 21 2003

Par	Peter Swift (Cogan Station, PA United States) - Voir tous mes commentaires

As a contrast, I don't really see this in Benedick at all. He never seems sad, just angry at his kinsman Claudio becoming married. Rather than mourning this fact, he simply becomes resentful and angry. This seems to add some clarity to what happened in the relationship between Benedick and Beatrice. While a little bit of humanity is shown through his character when he questions why Beatrice would ever love him, Benedick seems to be more than anything a simple and unfeeling character until his circumstances force him to grow up and make a decision (to challenge Claudio). However, even this decision isn't an original thought or something he wanted to do, so even in this he seems a little childish - he's just following the wishes of someone else.

Benedick seems to reflect many negative male stereotypes in that he doesn't really listen, he doesn't care about the feelings of others, and ultimately his actions are more for his benefit than anyone else. He struggles for power and even in the final marriage sequence; he proves that he's in control of the relationship when he decides to kiss Beatrice. Despite all these follies, he's still my favorite character in the film and play and I think that he, more than anyone, makes the play humorous and entertaining. This is just another way in which his character contrasts with that of Beatrice. Beatrice seems to reflect all the positive characteristics of a strong woman while Benedick reflects many negative stereotypes of an immature man.

These differences in characters, especially when involved in a romance, make "Much Ado About Nothing" a very compelling and entertaining story. The joking keeps the play funny and entertaining, while the subplots complement the humor by adding substance and seriousness.

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