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Contrast much ado about nothing to hamlet
Kenneth Branagh much ado about nothing
Subject matter of Shakespeare. Much ado about nothing
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The scene opens in the beautiful hills of Tuscany, Italy. Lying about on the slopes of grass are the humble townsfolk basking in the sunshine as a soft voice introduces; “Sigh no more ladies, sigh no more.” This dreamlike setting is the opening scene of the major motion picture Much Ado About Nothing as envisioned by film director Kenneth Branagh. A far cry from its Shakespearean origins, Branagh’s Much Ado has a look and feel all of its own. This film seeks to capture its audience with visual majesty as the characters and setting are transformed to reveal Branagh’s joyful rendition of Shakespeare’s romantic comedy. However, though Branagh’s vision is nothing short of cinematic genius, it neglects some of the deeper meaning that is illustrated within the original written play. Shakespeare’s subtle nuances and elaborate dialogue shape each character as the plot of the story unfolds. Branagh neglects the situational relevance of certain dialogue within scenes of the written play; relying more on visual effect rather than verbiage. Branagh’s use of editing creates a wistfully light-hearted adaptation of the play and hastens the pace of the drama. While Branagh succeeds in creating many parallels between his movie and Shakespeare's written play, his use of visual imagery, characterization, and setting deliver an interpretation that stands alone as one of joyful camaraderie and humor. With its entangled double plots and eloquent use of words, Much Ado About Nothing is a story that has the ability to entertain the masses both young and old. Shakespeare’s use of figurative language along with situation creates such vivid imagery for which carries the drama from beginning to end. For example, when we look at Act 1 Scene 1 of the play ... ... middle of paper ... ...With its unforgettable characters and witty charm, this Much Ado entertains the masses and at the same time reveals the troubles and adversity of love and mistrust. Kenneth Branagh creates his own individualistic adaptation of this classic through the use of visual imagery, characterization, and setting. Branagh cut many lines and speeches from the text to better support his interpretation of a more open and informal society of warm-hearted, affectionate characters. Though Shakespeare's mood is more formal, Branagh remains true to the essence of the play as all of the same characters and most of the dialogue are justly included in the film. Although distinct differences can be made between Branagh’s film and Shakespeare’s written work, they both share a common denominator of good old-fashioned entertainment; and in the world of theater, nothing else really matters.
“And when I lived, I was your other wife, And when you loved, you were my other husband(Shakespeare 60).” In the beginning of the play it was overwhelming, steeped in love at first sight between Hero and Claudio, until Don John’s evil-manner took a role in ruining the love between them. And because of this a conflict developed between them, but was resolved when their vigorous love for one another overcame the conflict. In Much Ado About Nothing by William Shakespeare, Hero serves as the foil character of Claudio because of Hero’s dignified, well-mannered, eminent reputation is illuminated through Claudio’s insecure, accusing, and doubtful weakness; thereby, interminably influencing the conflict in the plot.
William Shakespeare is known for his use of dramatic irony and complicated story lines. In Much Ado About Nothing, he also adds in the element of disguise to what the characters know, or what they think they know. There are multiple characters trying to ensnare others in different facades, whether it be for better or for worse. The deception and illusion in the play can either assist the characters or completely shatter the situation, but in both cases, Shakespeare advises us to infer about what we hear or see before we jump to conclusions.
Filmmaking and cinematography are art forms completely open to interpretation in a myriad ways: frame composition, lighting, casting, camera angles, shot length, etc. The truly talented filmmaker employs every tool available to make a film communicate to the viewer on different levels, including social and emotional. When a filmmaker chooses to undertake an adaptation of a literary classic, the choices become somewhat more limited. In order to be true to the integrity of the piece of literature, the artistic team making the adaptation must be careful to communicate what is believed was intended by the writer. When the literature being adapted is a play originally intended for the stage, the task is perhaps simplified. Playwrights, unlike novelists, include some stage direction and other instructions regarding the visual aspect of the story. In this sense, the filmmaker has a strong basis for adapting a play to the big screen.
Rossiter, A.P. "Much Ado About Nothing." William Shakespeare Comedies & Romances. Ed. Harold Bloom. New York: Chelsea House Publishers, 1986.
“Language is frequently used to stir up & manipulate emotions.” - Mary Hamer. The words that people say can appear brutal or detrimental. These violent words take up many forms such as lying, insulting, etc. Along with its’ comedic formula, William Shakespeare's, Much Ado About Nothing is enhanced with humorous mockery and intertwined dialogues. In the play, the soldiers have just returned from a successful war. Love is traveling through the village; however the “language of war” appears rooted in the language. Numerous times do the characters joke around in cruel dialects. The mockery, however, is not considered to be as harsh due to the presence of comedy within the play. William Shakespeare’s intricate use of language in his play, Much Ado About Nothing, allows immense aggressive language to thrive in the characters yet is able to use this to alleviate the violence.
The modernization of nearly outdated and cliché settings typically used for Shakespearian plays such as Much Ado helps enforce Whedon's attempt to make the film and play familiar, as well as creates accessibility for the audience regardless of how well they may understand Shakespeare's language. Both the ensemble and individual cast members assist in achieving Whedon's vision by creating an atmosphere that seems familiar if only that it could be our own family and friends throwing that same banter back and forth between each other. Their playful and occasionally raw performances combine with a spectacular setting to help make Whedon's Much Ado About Nothing a stellar film that is a nearly perfect modern translation of a classic, centuries old
In William Shakespeare’s play ‘Much Ado about Nothing’, there are many instances of trickery and deception, which seem to surround the whole of the play.
Shakespeare's comedies A Midsummers Night's Dream and Much Ado About Nothing have many parallels while Measure for Measure is a problem play with a completely different tone. Comparing and contrasting these three plays provides insights into the views of Shakespeare concerning comedy.
=== If you're studying the Shakespeare play, Much Ado About Nothing, be sure to watch Kenneth Branagh's interpretation of this play. This film will provide you with an enhanced understanding of the play. Although, it is misleading at times, this version of the play will keep you fully entertained for the full 111 minutes and provide you with extra knowledge of the play. Casting The majority of the cast was well selected, and the actors lived up to expectations.
In William Shakespeare's play, Much Ado About Nothing, it uses classic techniques of comedy and archetypes to create a comedic effect. The title, Much ado about nothing, means making fuss on insignificant matters. The title contributes to the theme of the play which is loving may have bounteous misconceptions. Shakespeare indirectly brings up the matters of love and marriage in an inaudible way, while still gratifying the audience.
The relationship between two half brothers in Shakespeare’s “Much Ado About Nothing,” is tragic and funny at the same time. Don John, the outcast and the popular Don Pedro are foils because of their disposition in life, their demeanor towards others and their dialogue which speaks volumes in this tragic/comedy.
One notable difference between William Shakespeare’s The Tempest and Julie Taymor’s film version of the play is the altered scenes that made quite a difference between the play and the movie version. This difference has the effects of creating a different point of view by altering the scenes affected the movie and how Taymor felt was necessary by either by keeping or deleting certain parts from the play. I use “Altered Scene” in the way of how Julia Taymor recreates her own point of view for the movie and the direction she took in order to make the audience can relate to the modern day film. I am analyzing the way that the altered scenes changes to make a strong impression on the audiences different from the play. This paper will demonstrate
William Shakespeare once told us, "All the World’s a Stage" —and now his quote can be applied to his own life as it is portrayed in the recent film, Shakespeare In Love. This 1998 motion picture prospered with the creative scripting of Tom Stoppard and Marc Norman and direction of John Madden. The combined effort of these men, on top of many other elements, produced a film that can equally be enjoyed by the Shakespeare lover for its literary brilliance, or for the romantic viewer who wants to experience a passionate love story.
Shakespeare’s influence continues even in the world of film, not invented until several hundreds of years after his death in 1616. As well as the inevitable BBC remakes of most of his plays, newer adaptation such as Kenneth Branagh’s ‘Much Ado About Nothing’ (starring Keanu Reeves and Denzel Washington) and Baz Luhrmann’s ‘Romeo and Juliet’ (featuring Claire Danes and Leonardo DiCaprio) have met critical acclaim and can be credited with bringing Shakespeare to a new generation not inclined to visiting theatres.
William Shakespeare and the new millennium seem to be diametrically opposed, yet his works are having a renaissance of their own after 400 years in the public domain. Why have some major film producers revisited his works when their language and staging would seem to be hopelessly outdated in our society?Perhaps because unlike modern writers, who struggle with political correctness, Shakespeare speaks his mind with an uncompromising directness that has kept its relevance in this otherwise jaded world.