Either Joss Whedon is operating on some definition of “vacation” that the rest of us are unfamiliar with, or we’ve just been doing it wrong. After seeing Whedon’s modern film adaptation of William Shakespeare’s “Much Ado About Nothing,” I tend to side with the second option.
The story behind the film is this. During a break in post-production of Marvel’s “The Avengers,” Whedon, encouraged by his wife, Kai Cole, concluded what would make him feel most relaxed during his free time would not be some tropical siesta, but rather leaping into a 12-day Shakespearian film production with his friends. A production that would be funded by Whedon himself and filmed in black and white at his California home.
Whedon has long been known for having this sort of inspiration even during his supposed “time off.” He wrote much of the acclaimed musical episode of his television series “Buffy the Vampire Slayer” during his “vacation,” and co-wrote and directed the award-winning low-budget musical superhero comedy “Dr. Horrible’s Sing-A-Log Blog” during the 2008 writer’s strike. The enthusiasm present in “Much Ado About Nothing” is reminiscent of a group of kids making a home movie together.
Knowing the story behind the movie makes the achievements of the film all the more impressive. Despite being a long-term Whedon devotee, I tried to keep my expectations moderate by reminding myself that, in many ways, this was essentially Whedon and friends goofing off at his house.
I’m happy to say that my lowered expectations were unneeded, and the film exceeded them in every way. The joy and freedom of the production is palpable in every performance, as the actors, some theater veterans and some new to Shakespearian vernacular, throw themselves into their roles with abandon. They make the Bard completely accessible even to Shakespeare-phobes, as any good Shakespeare performance should do, and ham up some hilarious physical comedy as well.
For anyone unfamiliar with the original Shakespeare play, the gist of it is this: A group of returning soldiers stop in for a stay at the home of Leonato (Clark Gregg, “The Avengers”); the governor of Messina. These soldiers include Don Pedro (Reed Diamond); a respectable Prince, Don John (Sean Maher, “Firefly”); his illegitimate, manipulate brother, Benedick (Alexis Denisof, “Angel”), a witty man who brags of his attractiveness but swears he will never marry; and Claudio (Fran Kranz, “Cabin in the Woods”) a young man who has recently gained attention for his skill in battle. At the home of Leonato, they meet Hero (Jillian Morgese), Leonato’s beautiful daughter; and Beatrice (Amy Acker, “Angel”) his quick-witted niece who is engaged in a “merry war” of insults with Benedick.
There are a multitude of characters in the play, and Whedon fills the roles mainly with favorites from his prior work. The performances are almost universally impressive. Denisof and Acker charm as sparring potential lovers Beatrice and Benedick, firing off Shakespearian dialogue rapidly while still making it sound naturalistic. Denisof also does some truly excellent physical comedy work that tied only with Nathan Fillion’s (“Castle,” “Firefly”) turn as constable Dogberry in generating the biggest laughs.
Fillion is irresistibly amusing as this “good cop” who constantly throws people off with his attempts to sound sophisticated. Nick Kocher and Brian McElhaney also make a memorable appearance as two members of the Watch serving under Dogberry. The duo is best known for their Youtube shorts and the comedic timing they perfected there is put to good use here.
My only reservation in recommending this film is it might not be as hilarious and involving if you’re not already a Whedon aficionado. There’s something special about the thrill you get when you recognize familiar face acting ridiculous or playing against type. It makes the film feel like a personal inside joke you’re in on, or an exclusive party you’ve snagged an invitation to.
Still, on the whole, this is a beautifully shot film that explores romance with skill and humor. Hopefully these traits will bolster it to broader appeal because it deserves to be seen, especially by skeptical people convinced the Bard isn’t relevant or entertaining. So if you get the opportunity to see it, be there. Because, as the film’s poster proclaims, “Shakespeare knew how to throw a party,” and so does Whedon.
Rating: 4.5/5 stars
Note: “Much Ado About Nothing” will receive its theatrical release on June 7th.
