Joss Whedon is well aware of the cult-like following that he has fostered over the years and this summer; he has created something to simultaneously satiate and challenge them. From the spaces between his action-packed hits like “The Avengers” and “Cabin in the Woods” emerges an incredible adaptation of Shakespeare’s “Much Ado About Nothing” that will thrill “Whedonites” and Shakespeare fans alike.
The film was shot in mere weeks at Whedon’s beautiful home in Santa Monica. It is entirely black and white and its easy elegance is hilariously impressive. What was intended to provide the director with a break between his “bigger” movies proves an equally impressive feat, though, in its completion. It is fresh, it is funny and it is the kind of quirky film that the summer movie season has been begging for years.
Whedon hugs tightly to Shakespeare’s story line and language. “Much Ado About Nothing” follows the paths of two lovers. The first, Beatrice (Amy Acker) and Benedick (Alexis Denisof), are biting, witty and initially utterly opposed to love and its implications. The second, Hero (Jillian Morgese) and Claudio (Fran Kranz), comprise a couple of young lovers who are completely infatuated with one another. When deceit poses a threat to the latter couple, though, chaos ensues and plot unfolds. The film is a brilliant blend of Whedon’s direction and Shakespeare’s timelessness.
DePaul junior and avid Shakespeare fan, Micki Burton, was especially impressed by the relationship between Whedon and Shakespeare’s work.
“One of the most interesting parts for me was the choices that Whedon made in order to set up the context of this adaptation,” Burton said. “His use of flashbacks to establish the relationship between Benedick and Beatrice was never outright stated in the original text, only briefly mentioned once or twice. Regardless, it’s clear that Whedon paid a lot of attention to the source when adapting it to a modern audience, because it was just as engaging and entertaining as the play.”
While the cinematography and direction of “Much Ado” are flawless, it is the cast of tight-knit Whedon favorites that brings the movie full circle and breathes life into its core. Joss has a knack for nabbing offbeat, incredibly talented actors and having immense faith in them. The dual-sided relationship between Whedon’s work and the actor’s artistic license is palpable.
Though he comprises one of the more minor characters, Whedon-veteran Nathan Fillion brings absolute joy clever comic relief to the film in his role as an inspector named Dogberry. The coupling of his talent and his familiar face comprise a flawless pairing; it is obvious why Joss has repeatedly chosen him. Though he never overpowers the main couples, he brings something truly special to the film.
“Much Ado About Nothing”was a beautiful palette cleanser for Joss Whedon and now, in the midst of summer blockbusters, it is a breath of fresh air for moviegoers. Though Shakespeare films are attempted frequently, Whedon’s adaptation is both unique and universal. There is something in it to delight almost everyone that encounters it. The movie is a fresh and airy testament to Whedon’s effortless talent; it delivers a classic piece of literature that goes down as smoothly as a summer dessert.