Life Between Films

I have always been one of those weird people who have been really into Shakespeare (yes, really). I even took a semester-long english class in high school that was solely dedicated to reading his works (I think I’ve read about 11 of his plays). If you can read between the lines, the man was hilariously funny, really perverse, and has a pretty great grasp on melodrama. Because of it, filmmakers have been fascinated with and have revisited Shakespeare’s text into updated versions using Shakespearean dialogue (see: Baz Luhrmann’s Romeo + Juliet). I don’t know how, but I missed ever reading “Much Ado About Nothing”, which made it even more special that my first introduction to this story was through a modern re-envisioning of the play through the eyes of one, Mr. Joss Whedon. Yes, Whedon decided to tackle Shakespeare and as man that knows have to craft unique cult classics, it should be no surprise that this is a damn good one. Not everyone can weave in modern material into Shakespeare but Whedon has found a way to blend in contemporary physical comedy with Shakespeare’s written follies in such a great way. Aided by charming leading performances by Alexis Denisof (Benedick), Amy Acker (Beatrice), the story revolves around two couples with vastly different perspectives on love, one betrothed and in love and the other using bitter distain to mask their feelings, and the plots to tear them apart and bring them together, respectively. Not to be out done, Nathan Fillon (Dogberry) and Tom Lenk (Verges) together embody the spirit of a old time comedic duo as they take own the roles of incompetent citizen-police. Alcohol consumption is brilliantly used prominently throughout the movie to give plausibility to all the misunderstandings and mayhem that ensue. Added bonus; the movie is in black & white, a choice by Whedon to play up “the noir feel”. My Grade: A (Bonus: I had the pleasure of meeting Mr. Whedon in Toronto)

Post-TIFF To Do List
6. Get a well worn copy of “Much Ado About Nothing”