Joss Whedon’s adaptation of the beloved William Shakespeare play stays true to the play’s themes while using the modern setting to enhance the hilarity of the play. Much Ado is a comedy of errors, and the cast, under Whedon’s direction, take the comedy to heights no other adaption I’ve seen ever has. Whedon’s Much Ado is brisk, witty, and wildly entertaining.
The cast is basically a who’s who of the Whedon-verse. The action takes place over a few days at Leonato’s (Clark Gregg, The Avengers) home. Leonato is hosting Don Pedro (Reed Diamond, Dollhouse), who is called Prince, his half-brother Don John (Sean Maher, Firefly), and two of his best soldiers, Claudio (Fran Kranz, Dollhouse) and Benedick (Alexis Denisof, Buffy the Vampire Slayer, Angel). Claudio is in love with Leonato’s daughter, Hero (Jillian Morgese, an uncredited appearance in The Avengers). While Hero believes in love, her cousin Beatrice (Amy Acker, Angel, Dollhouse) does not. Also in attendance are John’s shady friends Borachio (Spencer Treat Clark, Lucius from Gladiator all grown up) and Conrade (Riki Lindhome, Cheryl from Buffy the Vampire Slayer). Keeping everyone safe is the Watch, which is led by the constable, Dogberry (Nathan Fillion, Firefly).
L to R: Reed Diamond as Don Pedro, Sean Maher as Don John, and Fran Kranz as Claudio
Shakespeare’s words were meant to be heard, and his plays are understandable when you hear the right inflection of the lines and see the reaction of the surrounding characters. The story is about love, the love between friends (Leonato, Pedro, Claudio and Benedick), the power of young love rendering the lovers speechless (Claudio and Hero), the denial of love (Benedick and Beatrice), and how love must conquer all, especially in the presence of dark forces. Much Ado rests on two shoulders: Acker’s Beatrice and Denisof’s Benedick, and the film, like the play, shines when Beatrice and Benedick trade barbs, try to outwit each other, and refuse to admit when love has entered their hearts.
Jillian Morgese as Hero and Clark Gregg as Leonato
There are countless funny moments in the film, but two that stand out are when Benedick and Beatrice “accidentally” overhear conversations. The Prince is playing Cupid, wanting to see his soldier and friend Benedick as happy as Claudio, so he devises a plan. Part one of the plan is to discuss Beatrice’s love for Benedick so Benedick can hear. Benedick thinks he is eavesdropping, so he tries very hard to remain hidden. The three, Pedro, Claudio, and Leonato, discuss how Beatrice loves Benedick, and Denisof rolls on the ground, dives into the bushes, and holds twigs in front of his face to hide. The expressions on his face as Benedick peeks up are hysterical. We see his attempts to remain hidden through the windows, and Denisof’s physicality just builds the jokes one on top of another. Equally amusing is part two of the Prince’s plan: Beatrice overhearing Hero and Ursula (Emma Bates) discuss Benedick’s love of Beatrice. Beatrice carries a laundry basket, and she is at the top of the stairs when the conversation starts. When she hears that Benedick loves her, she falls flat down the stairs, one of the best comedic stunts ever. She is disheveled when she comes back upstairs, and she too has to dive to remain “hidden.” These sequences are just a taste of how laugh-out-loud, hold-your-sides funny Much Ado is.
Alexis Denisof as Benedick and Amy Acker as Beatrice
Another standout is Nathon Fillion’s Dogberry. The constable is a commoner, but he tries very hard to act and to speak like a nobleperson. However, his sincere attempts make him choose the wrong words, elevating his behavior to parody. Fillion sets aside his ego and digs into Dogberry, showing us how dorky Dogberry is. Dogberry doesn’t mean to be silly, and Fillion skillfully conveys Dogberry’s earnest belief he has a chance to be noble, to be an important figure in events. From the suit that doesn’t fit quite right to how he puts on his sunglasses, Fillion’s Dogberry is a buffoon who truly thinks he is an effective and professional constable, making Dogberry one of the most memorable characters in the film.
Nathan Fillion as Dogberry
The only flaws in the film are the unnecessary scenes with Beatrice and Benedict as lovers. Otherwise, Whedon’s interpretation of Shakespeare’s Much Ado About Nothing is fresh and romantic, infused with sarcasm (Acker’s Beatrices oozes it during the first half of the film), visual juxtapositions (soldiers Claudio and Benedick stay in a room full of stuff animals), and fast verbal exchanges that dares the audience to keep up. The true test of a good adaptation of Shakespeare is the audience’s reaction; the audience laughed at all the right places, and my companion, who has not read the play or seen any other adaptations, understood everything that was going on. The stellar cast rejuvenates Shakespeare’s words, and their performances make you forget you’re watching a version of a 400-year-old play. Charming and energetic, Whedon’s Much Ado is one of the best adaptions of Shakespeare’s work I’ve seen and a film that shouldn’t be missed.
