Much Ado About Nothing

It is really no surprise that the director of the Avengers should love Shakespeare, and in particular this Shakespeare play, so much.  It has all the hallmarks of his own razor-sharp scripts: snappy dialogue, ironic humor, a Machiavellian and self-described villain.  Most of all though, it is a cast play.

Unlike the many “name” plays, Much Ado About Nothing's focus veers between two very different yet interlocked romantic entanglements undercut by villainous plotting and the comedic antics of the local constabulary which at times reaches a level of absurdity bordering on Pythonesque.  It’s a rich, rich, play and Whedon excels at excavating brilliance from the intricately-tangled plot and dialogue.  Rather than insert the plot into a specific historical context, the director instead opts for the trappings of modernity.  Meanwhile  visual cues compensate for antiquated idioms and seeming non-sequiturs in the dialogue. 

This has the overall effect of placing responsibility for the interpretation of the film squarely in the lap of the audience.  The decision of when to laugh and when to cry becomes a uniquely personal one.  This is not to say that the movie is overly minimalist.  It commits to a unique tone, one of ominous eroticism, lurking violence, and surreal humor. 

For those who are familiar with Joss Whedon’s many forays into television the movie provides a unique pleasure, as almost the entire cast has played a feature role on one or another of shows.  In the end, though, the acting speaks for itself.  Alexis Denisof and Amy Acker remind everyone of why the roles of Beatrice and Benedick have consistently upstaged all the other characters in the play’s long history.  Nathan Fillion and Tom Lenk deserve a special mention for their fantastic buddy-cop shtick.  But every player shines, even the background extras who interact with the scenes without any lines.

I cannot recommend this movie enough.  Everything, from the black-and-white palette to the subdued background tracks highlight a masterful yet subtle touch.  Much Ado About Nothing “gets” the play it is adapted from, its humor and its pathos.  It polishes both, leaving a gem the audience can thoroughly enjoy.