When last we saw Joss Whedon on the big screen, he was bringing to life a full scale alien attack on New York City with The Avengers. For his follow-up, he's decided to bring William Shakespeare to the modern day, word for word, on a budget more in keeping with The Blair Witch Project or Paranormal Activity. Quite a step down, in scale maybe, but not in terms of quality. The first movie from his new micro studio Bellweather, Much Ado About Nothing (shot in a twelve day break between filming The Avengers) is the Bard's version of a romantic comedy (as Whedon has put it, 'This is THE romantic comedy'), and for those who don't remember their English classes from school, concerns two couples: madly in love Claudio (Franz Kranz) and Hero (new comer Jillian Moregese), and Benedick (Alexis Denisoff) and Beatrice (Amy Acker), who engage in 'merry war', constantly sniping at and verbally one upping each other, while denouncing marriage at every step (Whedon has added a drunken one night stand to fuel the feud, giving their relationship a bit more meat) . While Claudio and Hero's courtship is threatened by the vile Don John (Sean Maher), pretty much doing it because he can, Benedick and Beatrice are tricked into falling for each other, leading to no end of complications.
Since Shakespeare's writings are all about dialogue, any adaption lives or dies by it's cast. This is the movie's first ace up it's sleeve, with Whedon assembling a group of actors who relish the chance to tackle the Bard. The fact that the director has worked extensively with the majority of them before only helps matters. All of his T.V. work (Buffy The Vampire Slayer, Angel, Dollhouse, and Firefly) is represented here, and the rapport he has developed over the years with the actors coaxes out some fantastic performances, delivering the dialogue quite naturally. With a major chunk of the movie focused on them, Denisoff and Acker have a wonderful chemistry, lighting up the screen whenever they share it, and generally being extremely likable. Apart, they are no less wonderful. Denisoff grabs the role with both hands, playing the charming chancer with aplomb, and showing off some great comedy timing. When the story kicks into high gear, he owns every scene he is in. Acker brings a great duality to the role, her initial merry nature giving way to a deep melancholy. She's the sounder head in the relationship, threading carefully when it comes to Benedick, which is a great contrast to his jumping in head first the minute he is fed lies about her affections. Maher is a great villain, smarmy and calculating, and it is a great shame his part is so small. Kranz and Moregese play their parts well, but ultimately they don't have much to do, and their roles in the finale feel rushed and underwritten. The supporting cast compliment the the main cast perfectly, with Nathan Fillion, who the plot's turning point hinges on, giving a fantastic performance as the incompetent and self important Constable Dogberry. Those who know him, from Slither, Super, Serenity, and T.V. show's Firefly (of course) and Castle, know he is an immense comedy talent, and he brings most of the big laughs here. His flustered attempt to put his jacket back on has to be my favorite scene from the film. So simple, but he completely sells it.
Visually, this movie is absolutely beautiful. It was shot mainly in Whedon's house (designed by his architect wife), and he takes advantage of very nook and cranny, giving it a great sense of flow, and allowing for far more intimate scenes than most higher budgeted movies. It's shot in gorgeous black and white, and with a mainly jazz centric soundtrack, it echos the 1940's, but never slipping into over stylisation. Whedon has edited the original work slightly, toning the darker aspects of the play, keeping the movie light, and he injects his own sense of humour into it, from the slapstick to the visual, making this the most enjoyable Shakespeare adaption I have seen in a while. It does become a bit unfocused towards the end, dragging slightly, but never dulling the enjoyment.
Whedon and Shakespeare fans will go mental for this. For everybody else, this is accomplished enough to keep your attention. Light, superbly acted, and beautifully shot. Highly recommended!
