REVIEW: Much Ado About Nothing

Courtesy of Roadshow

Modern adaptations of Shakespeare’s work are tricky, and not just because of the language. Often, filmmakers erroneously assume that simply putting the Bard’s words into the mouths of actors with contemporary wardrobes and hairstyles will suffice. This tends to create a disconnect that prevents an already anxious audience from fully engaging with the material.

Shakespeare still feels homework for many, no matter how hard a filmmaker might try to make it applicable to the 21st century. Fortunately, if anyone understands the significance of using complex-yet-accessible language to communicate the appropriate context and emotions of a story, it’s Joss Whedon. Once known only to fans of cult favorites like Buffy the Vampire Slayer and Firefly, the brilliant writer-director is now a household name. That tends to happen when The Avengers makes $1.5 billion worldwide.

So what does Whedon do when he gets a blank check to make anything he wants? He spends 12 days shooting a black-and-white, present-day version of Much Ado About Nothing in his elegant home with a bunch of his friends. It’s a lot of fun once the film finds its legs (there’s some clunky exposition in the first 15 minutes); Whedon delivers plenty of laughs, skilled performances and – best of all – keeps the story from feeling like required reading.

If it’s been a while since your last English class, stay calm. Here’s everything you need to know: a bunch of VIPs gather at the home of Leonato (Clark Gregg), the governor of Messina, for a massive party. Claudio (Fran Kranz) immediately falls in love with Leonato’s daughter, Hero (Jillian Morgese), and a wedding is hastily arranged.

In the days leading up to the ceremony, Leonato’s friend Don Pedro (Reed Diamond) decides to trick longtime rivals Beatrice (Amy Acker) and Benedick (Alexis Denisof) into falling in love as well. With the help of Leonato, Claudio and Hero, they arrange a series of “overheard” conversations, allowing the bitter enemies to confront their true feelings for each other.

Meanwhile, the villainous Don John (Sean Maher) takes advantage of the situation to spread discord everywhere he goes, easily avoiding the grasp of buffoonish policeman Dogberry (Nathan Fillion).

Whedon has previously worked with everyone in the cast in some capacity, so he knows how to play to their strengths. Whether it’s through clever touches on the dialogue (Leonato and Don Pedro signaling Claudio to tone down his recollection of Beatrice’s supposed praise of Benedick) or inserting some brilliant physical comedy into the proceedings (Beatrice plunging down a flight of stairs while eavesdropping on her friends’ “private” conversation), the filmmaker allows the actors to shine while also assuring viewers that they’ll understand the story even if the dialogue proves too challenging.

Most of the actors demonstrate mastery of Shakespeare’s language, but the standouts are Denisof, Acker, Gregg and Fillion. Even moviegoers who don’t understand a word the characters are saying will still comprehend what’s happening onscreen. Their mannerisms and facial expressions are spot-on, and the emotional context of their performances speaks volumes.

Whedon’s home provides a good playground for the actors. He’s able to do a lot with a limited amount of space, although scenes that are supposed to take place outside of the mansion (the police station, for instance) feel a bit artificial as a result.

Still, the geek god’s adaptation of Much Ado About Nothing avoids coming across as pretentious and makes Shakespeare accessible to average moviegoers. Even (dare I say it?) fun. Seek it out and take a chance on something unique.

Much Ado About Nothing is rated PG-13 for some sexuality and brief drug use. 

Grade: B