Franz Kranz, who plays Claudio, in \"Much Ado About Nothing\"


Nothing, Indeed

Joss Whedon's low-budget, contemporary take on Shakespeare's Much Ado About Nothing is as twee as it gets.

published Friday, June 21, 2013

When one of Shakespeare’s plays is done right, it reminds you why his works have survived four centuries and counting. When done wrong—or indifferently, as with Joss Whedon’s self-consciously twee take on Much Ado About Nothing—you feel every tedious second of it.

On the surface it seems like a good fit for The Avengers writer-director: It’s a robust comedy with strong female characters and an ensemble cast of quirky characters, all of which plays to Whedon’s strengths; in practice, it’s a limp adaptation that briefly amuses but falls short of bringing the Bard’s story to life.

The movie begins with a quick flashback, wherein Benedick (Alexis Denisof, who played Wesley in Whedon’s Buffy the Vampire Slayer and Angel) skips out on Beatrice (Dallas native Amy Acker, who was Fred on Angel) after a night of passion. The two encounter each other some time later at the home of Beatrice’s uncle, Leonato (Clark Gregg), during a reception for Benedick’s employer, Don Pedro (Reed Diamond). The don arranges for his associate Claudio (Fran Kranz) to wed Leonato’s daughter, Hero (Jillian Morgese). He and Leonato also scheme to bring Benedick and Beatrice together as well, mainly to relieve their boredom.

Meanwhile, Don Pedro’s illegitimate brother Don John (Sean Maher), being a self-described villain, contrives to have Claudio believe that Hero has been with another man. Duels, misunderstandings, and Elizabethan wackiness ensues.

Whedon transfers the setting from Messina, Spain circa 1599, to modern-day Santa Monica, California, using his own estate as the primary location. That, combined with shooting in digital black-and-white and the barest of bare-bones budgets, results in a look and feel that is more amateurish than it is minimalist. He makes a few things work, however, such as re-inventing constable Dogberry (Nathan Fillion with a bizarre fake paunch) and his men as comically hard-boiled cops.

While there is a modicum of chemistry among the cast, there is a distinct lack of emotional engagement from them and the director. Whedon never really seems to connect with the material, and his approach to witty banter doesn’t mesh with Shakespeare’s dialogue, making for some truly awkward exchanges. The overall outcome is like cheap champagne—effervescent but disappointing.

◊ Much Ado About Nothing, which runs one hour and 49 minutes and is rated PG-13, is currently playing at the Angelika Film Center Dallas and the Cinemark West Plano and XD.

◊ Click here to read our interview with Amy Acker, which also includes video.

  Thanks For Reading

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Nothing, Indeed
Joss Whedon's low-budget, contemporary take on Shakespeare's Much Ado About Nothing is as twee as it gets.
by Gary Dowell

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