Joss Whedon’s Much Ado About Nothing

In early April, I had the privilege of watching an advance screening of Joss Whedon’s Much Ado About Nothing at the annual conference of the Shakespeare Association of America. Needless to say, the two hundred Bardolators in the room were pretty darn excited to mouth the entire play in unison. We were even luckier because the director himself sent the film over with a special introduction for us. In it, he gave his answer to that frequently asked question, “Why Shakespeare?” His gleeful response: “Why cake?” Those words assured me that Shakespeare’s text was in good hands.

A black-and-white romantic comedy in 2013? Joss Whedon’s 2012 Much Ado About Nothing

Why do I say “text”? Isn’t the whole point of this film that it’s a play performed, and then edited for the screen? Let me explain. The earliest buzz around 2012’s Much Ado was that it was filmed in black-and-white. That’s a pretty risky decision for someone producing a play by a 400-year old writer, and in the wake of Kenneth Branagh’s colourful Hamlet and Baz Luhrmann’s tripped-out R+J. Those were both released in 1996, and we’ve only gone further down the rabbit hole of CGI and HD ever since. I’d like to suggest not the reason (because that’s Whedon’s job), but the effect of Whedon’s decision to go black-and-white, and that’s that it reduces distraction. The party that goes on in this film is but a smaller version than that in Luhrmann’s recent Gatsby, but the difference is that in this film, you can enjoy the spectacle while also being able to pay attention to the words of “Sigh no more (Hey nonny nonny)“. Instead of looking at what Beatrice is wearing, we can focus on the way she “speaks poniards and every word stabs”. As long as Benedick shaves his beard and Hero wears white on her wedding day, it’s all kosher to me.

Old-school Ken and Em in Much Ado About Nothing (1993)

The other question that people have asked me about this film is: “How does it compare to Branagh’s 1993 film?” Good question. I’m going to go right ahead and say this: Whedon’s is better. And that’s not to say that I don’t love watching “Ken and Em” fall in love, because I really, really do, but that film came out two decades ago and even though none of us have aged a single bit, the play has earned a touch-up. Branagh’s version was sentimental and set with lovely ladies in white dresses, frolicking in the Tuscan sun. The “merry war” took on a more literal resonance in Branagh’s film, as he and the Duke’s men appear in military uniforms. Whedon’s version, on the other hand, is set in his own LA mansion. Don Pedro’s men wear finely-tailored suits, and lacking the swagger or any sort of non-WASP ethnicity to pass for mobsters, they seem like movie producers with concealed weapons. That prompts me to ask what this mise-en-scene does to illuminate the play’s themes of honour, chastity, betrayal, and second chances. In this case, the question for me is as follows: where does honour stand in 2013 LA, where people party all night and go jogging at first light? My answer is that this modern revision of the play concerns itself with pride rather than honour. But Whedon complicates this notion of “rather than”: his production brings to light how honour and pride are two sides of the same coin. The currency? Vanity. This play revolves around appearances: was it Hero making love to another man on the night before her wedding? Can Beatrice and Benedick really trust each other until they read each others’ sonnets? Whedon accentuates this obsession with the visual through an omni-present camera-person, closed-circuit security cameras, and mirrors. Four hundred years old and still rife for adaptation, Shakespeare’s plays offer themselves up for this sort of filmic imagery.

"Forget not that I am an ass."

“Forget not that I am an ass.”

Alas, I cannot make any comment on how the cast fits in to the other television shows and movies of the Whedon-verse, and thus I can’t address Nathan Fillion’s performance, but people were really excited about it, and tickled by his role as Dogberry the malaproping constable. What I can say is that you don’t need to have watched Buffy and Angel in order to love this movie. This is a must-see in theaters, a must-buy when it comes out on DVD, and if you want to recreate that feeling of hot summer nights, drinking wine and flirting with the rich and handsome, pick up the soundtrack, too!

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1 Comment

Filed under Performances, Reviews, Stage to Page to Stage and Screen

One response to “Joss Whedon’s Much Ado About Nothing

  1. Stuff Jeff Reads

    My daughter saw this and liked it. It’s on my list of films to watch. Cheers!!

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