It is with a gentle and joyous lilt that Joss Whedon, pop culture progenitor of vampire slayers, space cowboys, superhero avengers and other formidable fictional figures, somewhat uncharacteristically turns his attentions to the work of William Shakespeare. Affection has flowed in abundance from his previous efforts, manifesting in his warm handling of characters both wanton and wise, his intricate focus in creating expansive worlds, and his witty way with the minutiae of everyday conversation; yet in appropriating the winsome words of the renowned playwright, the writer/director might just be at his sweetest and most celebratory.
The presence of the familiar helps cement the jovial air that surrounds the breezy modernisation of Bard’s greatly admired effort, a roster of recognisable faces assembled to pirouette and plot, seduce and shout, and mess and meander in the manner of the 16th-century material. In the comfort of his own home, Whedon’s friends and regular actors shed the skins of his most famous past projects, instead inhabiting the intimacy of one of the most infamous comedic contemplations on reputation, social regulations, and romance.
In this latest version of Much Ado About Nothing to reach screens, the couple of couples remain, the disillusioned Beatrice (Amy Acker, Angel) and Benedick (Alexis Denisof, Buffy the Vampire Slayer), and infatuated Hero (Jillian Morgese, in her first major role) and Claudio (Fran Kranz, The Cabin in the Woods) pawns in the machinations of their respective pairings. The former deny their bond, just as the latter delight in it; however the well-intentioned interference of benefactors Don Pedro (Reed Diamond, Dollhouse) and Leonato (Clark Gregg, The Avengers), and the malicious intervention of the spiteful Don John (Sean Maher, Firefly), influence the amorous outcomes.
Reframing the action with contemporary staging, setting and styling, yet retaining the distinctive dialogue of Shakespearian prose, Whedon’s film dances with the classic text rather than offers a departure from tradition. Respect resonates in his screwball interpretation of the four-century-old story, enhancing the ample charm, heightening the affable chaos, and yet still acknowledging the evident cynicism of the scenario. Care lingers in the graceful black-and-white cinematography and temperate score, both adding the dreamy sheen of the new while never overwhelming the shrewd detail of the original.
Similarly, the excellent cast excel in spirited, committed performances, aptly embodying the emotion of the source while revelling in the easy elegance of modernisation. With tender nuance instead of overt theatrical projection, they play their parts as relatable characters, not iconic creations. Acker, all sharp-tongued but sensitive-hearted, offers a spark that would carry the film in lesser company; thankfully, both Denisof as her confident, physically comedic counterpart, and the remaining performers – the delightfully bumbling Nathan Fillion (Serenity) as master of malaproprisms Dogberry among them – also shine with energy and effervescence. Their enthusiasm is infectious, their seemingly effortless comfort is exuberant, and the film that results is endlessly welcoming in its excited embrace. Make no mistake, Joss Whedon’s Much Ado About Nothing is made with, about and for love.
Rating: 4 stars out of 5
Much Ado About Nothing
Director: Joss Whedon
USA, 2012, 109 mins
Release date: July 11
Distributor: Sharmill Films
Rated: M
Actors:
Director:
Format:
Country:
Release:
