Liverpool Sound and Vision Rating * * * *
Cast: Alex Denisof, Amy Acker, Nathan Fillion, Clark Gregg, Reed Diamond, Fran Kranz, Jillian Morgese, Sean Maher, Spencer Treat Clark, Riki Lindhome, Ashley Johnson, Emma Bates, Tom Lenk, Nick Kocher, Joshua Zar, Paul Meston, Romy Rosemont, Elsa Guillet-Chapuis.
Quite simply, every actor and director really wants to get their hands on big budget version of one of William Shakespeare’s works. The doom laden chorus who persistently suggest that the man, who along with William Tyndale can be seen as one of the fathers of modern English, is not hip, not important enough to young cinema goers and that the language leaves people cold, could do worse than actually attend the screening of Much Ado About Nothing as it revels in the language, makes it completely accessible and performs superbly.
Between films, most directors might take their wives or husbands on holiday, to get away from the pressure of work but not Joss Whedon, he always seems to have his eye on the next thing, the next way to showcase his talent and those he brings to the screen. This particular version of Much Ado About Nothing was lovingly filmed and in the best traditions of anti-Hollywood glamour took just a couple of weeks to shoot.
It also follows the lead made in the last few years by bringing the action into a very modern setting; it is these small, delicate details that keep the interest in the bard at its absolute peak. The closest comparison of recent times would be the David Tennant and Patrick Stewart version of Hamlet which was released after a very successful run at the R.S.C. in Stratford-Upon-Avon in 2009.
There will be no doubt be unfair comparisons to the Kenneth Branagh and Emma Thompson spectacular of 1993. Unfair because any adaptation of a William Shakespeare play carries its own risks and pleasures but comparisons will be drawn as easily as well timed barbed playful argument or hastily drawn sword in anger. In truth the contemporary black and white shoot captures more than it loses, the texturing and soft focus playing well into Joss Whedon’s hands and in the leading roles of Beatrice and Benedick, played with charm and conviction by Alex Denisof and Amy Acker, there is a couple who control the camera just as well as the two great actors of 1993 were able to do.
Beautifully filmed and with a great touch of comedy that felt unforced and incredibly focused, Alex Denisof and Amy Acker were inspired choices as the unlikely lovers. Joss Whedon deserves credit for having the foresight for producing such a wonderful film and making Shakespeare breathe into the 21st century film world.
Ian D. Hall