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Since his Oscar-nominated “Henry V” adaptation, Kenneth Branagh has advance up with a simple, effective recipe: Blend 3 parts English actors well-versed in all things “Bard” with 1 or 2 parts Hollywood, sprinkle the mixture liberally over one of Shakespeare’s plays, win the material out of its new temporal and local context to provide an updated meaning, and garnish it by casting yourself and, until the mid-1990s, (then-) wife Emma Thompson in opposite starring roles.
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In “Grand 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 – “Great 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:” 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 idea it is ostensibly the relationship between Hero and Claudio that drives the situation – as well as the plotting by Don Pedro’s illegitimate brother, Don John (Keanu Reeves) – Beatrice and Benedick are the more sharp couple; both sworn enemies of worship, they are not kept apart by a scheming villain but by their bear 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 tells Beatrice.) And while Don John’s machinations execute worthy heartbreak and drama once they have arrive 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 aloof – although now primarily for their audience’s succor – acknowledge to each other’s demand “Do not you admire 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 yell you; – but … I yield upon gigantic persuasion; and partly to establish your life, for I was told you were in a consumption” – whereupon Benedick, most uncharacteristically, stops her with a kiss.
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Branagh’s and Thompson’s chemistry works to optimum finish here; and while every Kenneth Branagh movie is as mighty star vehicle for its creator as it is about the project itself, Benedick’s conversion from a man sure not to let fancy “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 reflect I should live – till I were married”!) is a pure joy to glance. Emma Thompson’s Beatrice, similarly, is an incredibly unusual, 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 principal, “construct 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 smart anchor pieces, there is considerable to delight in 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 “Dull Poets Society” seemed virtually guaranteed to indicate 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” set particularly is a delight (even if the dilapidated might occasionally have gained extra mileage enunciation-wise) . Keanu Reeves, cast against stereotype as Don John, is a bit too busy looking sulky to realize the role’s beefy sardonic potential: “miserable,” 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 incompatibility – 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 tiresome officer; the play’s boorish silly relief and as such spot-on, delivering his many malaproprisms 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 glance 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, procure composer Patrick Doyle stands in as minstrel Balthazar.) With minimal editing of the play’s novel language, a area obtain making chubby utilize 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 reflect, would have current.
Also recommended:
The Oxford Shakespeare: The Complete Works 2nd Edition
Love’s Labour’s Lost
Henry V
William Shakespeare’s Hamlet (Two-Disc Special Edition)
BBC Shakespeare Comedies DVD Giftbox
BBC Shakespeare Tragedies DVD Giftbox
Olivier’s Shakespeare – Criterion Collection (Hamlet / Henry V / Richard III)
William Shakespeare’s The Merchant of Venice
Richard III
The Complete Arkangel Shakespeare: 38 Fully-Dramatized Plays
“Worthy Ado About Nothing” is one of those stunning adaptations that supposedly couldn’t have been done. But Kennneth Branagh (director and star of “Hamlet,” and creator of the supremely underrated “Midwinter’s Record”) brought an all-star cast in a resplendent Tuscan setting, to bring this record of bickering loves and sordid betrayals to life as never before.
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The changeable Don John has fair been stopped in a rebellion against his brother Don Pedro, by young hero Claudio. Now all of them (including Don John, whom his brother has forgiven) are arriving in Messina, the home of grand Leonato. But when they find there, Claudio immediately falls in appreciate with Leonato’s exquisite daughter Hero. And despite the efforts of Don John, Don Pedro manages to derive the two young lovers together and altar-bound.
But Don Pedro isn’t willing to close there. Hero’s cousin Beatrice has a long-running feud with Claudio’s pal Benedick — they insult each other, they bicker, they argue about everything (“It is so indeed — he is no less than a stuffed man!”) . What’s more, both of them train to discontinue single forever. (“All women shall pardon me — I shall live a bachelor!”) Pedro and the others conspire to collect Benedick and Beatrice to somehow topple in care for with each other. And at first it seems that everything is going well — until Don John manages to cast doubt on Hero’s honor
There’s a definite timeless quality to “Distinguished Ado” — not honest the dialogue, but the simple costumes and the buildings in it. That leaves the audience free to pay more attention to the dialogue and its status. And what a location it is! “Grand Ado” is brimming over with silly dialogue, dastardly plots, comedic supporting characters and odd pairings. (Beatrice and Benedick are the sort of love-hate couple that a lot of movies try to have, but don’t succeed with)
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The dialogue is mostly (if not all) Shakespeare’s have, but it’s not indispensable to be a Shakespeare buff to understand what they’re saying. It’s not dumbed down, either — it’s fair spoken as normally as ordinary English. And the Tuscan landscape sparkles with life, passion, and lots of fruit and wine. You don’t need to be a fan already to understand and indulge in this movie.
Kenneth Branagh (who also directed and adapted the play) is astonishing as Benedick, lovably witty and egotistical; he gets a puny comic at times (such as his bird calls or joyous romp in the fountain), but demonstrates his serious ability after Hero is disgraced. the outstanding Emma Thompson is even better as the sharp-tongued Beatrice, a fiery young woman with her possess mind and definitely her believe mouth. Thompson lashes out Shakespeare’s witty lines as easily as if she honest view them up herself; one of her most mighty scenes is here. Denzel Washington (Don Pedro) looks like he’s having a substantial time; Keanu Reeves (Don John) is a bit flat in places, but glowers well enough. Kate Beckinsale’s first movie role (Hero) is suitably sweet and adorable. Robert Sean Leonard (Claudio) is the one archaic link in the cast; he seems a bit too overwrought and hysterical to be a major hero. (No pun intended)
This movie was unavailable for a very long time and only recently was rereleased on DVD. The DVD is glorious spare; aside from the movie, there are a few DVD promos (for “When Harry Met Sally” and “The Princess Bride” — both, I perceive, comedic romances) and a brief making-of featurette. The featurette doesn’t really offer great that is current, but does give some insights into the chosen settings and why the cast wished to do the movie.
Those who enjoyed Branagh’s “Hamlet” and “Henry V” will rejoice in “Powerful Ado About Nothing,” the quintessential romantic comedy. Comic, sweet, romantic, and incredibly well-acted, this is a keeper.
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