Dannika Webb, A#01439876, CCA 3330-001, Film Assignment, October 24, 2014
Part 1: Review
Kenneth Branagh does an outstanding job bringing the words of Shakespeare’s play to life in his film Much Ado About Nothing; which was released in 1993.
There were many things that I found appealing in Branagh’s version. The style that Much Ado About Nothing took helped keep the originality of Shakespeare’s day and age. The clothing that the actors and actresses were dressed in helped the viewer’s understand the time period. The language was from Shakespearean time, which added to the validity of this film. There was a good balance of comic relief, intensity, and romance. My favorite relationship to examine was that between Hero and Claudio. Love at first sight is dangerous and infatuating and more often than not that “love” turns out to be hate.
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There was a few scenes which distracted me.
In some of the big scenes of this film, the videography made me motion sick. The camera would switch back and forth between characters at an uncomfortable speed; it felt like I was watching a Ping-Pong match between two people; the thing about those scenes is that I felt a part of the action. With that being said, there were many times when I believe the videographer would have been better off zooming out so the viewers could get an understanding of the whole scene.
If you are looking for a good laugh and a romantic filled film, Much Ado About Nothing is the one for you. This film takes you into a Shakespearean time period but keeps the modern day charm that viewers need to stay
entertained.
Part 2: Character Examination- Don John
Don John is the step-brother of Don Pedro. He is the hometown villain. Being the villain, he creates a scheme to break up Claudio and Hero. He is jealous of Don Pedro’s community status and power.
In the text it was harder for me to understand that Don John was extremely shunned by the citizens. I noticed that Shakespeare does not have him saying many lines. His illegitimacy is portrayed through his silence and lack of relationships with others in the town. There is a lack of description in the words of text, making Don John’s character harder to dissect.
Whereas in the film, it was easier to understand Don John’s character. I could tell through the facial expressions and body languages of others who came in contact with him that he was not easily liked or favored. The film added more dimensions to his character, making it easier to understand his role in the film. The clothing that Don John wore, or lacked thereof, played a big part in his portrayal. In one scene Don John has his shirt off and an oily body while being extremely upset about his brother’s doings. The good guy would never have a scene like that in Shakespearean days. Music also plays a vital part in the way a film is carried out. For the most part the scenes with Don John in it the director makes the background music mysterious and dark adding more dimension to his character.
Part 3: The Entrapment of Benedick and Beatrice
3A: The film producers did an excellent job utilizing point of view into Act 2, Scene 3 and Act 3, Scene 1 in Much Ado About Nothing. The point of view in these two scenes helps keep the viewer in tune with the action of the scene. The camera angle changes quickly throughout both of these scenes. That helped me understand and put myself in the shoes of each character. When Benedict is walking through the garden and hears something said that he does not agree with, he yelps. The camera angle switches back and forth so you can see the expressions of both parties; from what Benedick sees to him hiding in different parts of the garden. There similar parts in the next scene when Beatrice is in the garden and overhears Hero talking to Ursula. The point of view of the camera shows the dimension of the garden as well Beatrice remaining hidden and listening to them talk at the same time.
The different scenes flow together seemingly perfect, whereas a stage production would require a transition of characters and stage props. The camera is able to show you exactly what the producers want you to focus from the different character points of view. In a stage production we would only be able to observe from a third party standpoint. In the film we are able to see through the eyes of Beatrice and Benedick. A stage is only so big, so the characters in these two scenes would not be able to move a lot while trying to convey the messages that they had. Putting it into a film, we are able to feel the anticipation of Benedick and Beatrice as they listen to the different conversations.
3B: The film did an effective job portraying these two scenes. In these scenes, respectively, Benedick and Beatrice find themselves in Leonato’s gardens. They both hear conversations about themselves that fall right in line with the plan to deceive them. The producers used different tactics to help the viewer’s understand what is happening. The different shots of Beatrice and Benedick trying to listen on to the conversations but remain unseen is greatly enhanced with the music in the background. It is apprehensive and anticipating giving the audience the feeling of nervousness that Beatrice and Benedick are feeling.
Works Cited:
Morgenstern, Joe. "'Skeleton Twins': Fully Fleshed Out, Singular and Splendid." The Wall Street Journal. Dow Jones & Company, 11 Sept. 2014. Web. 21 Oct. 2014.
It seems that modern Hollywood filmmakers are as much in love with Shakespeare's plays as were the 16th century audiences who first enjoyed them. Recent updates of Hamlet (1996) and Romeo and Juliet (1996), both highly successful movies, bear this out, as well as the two best film versions of Richard III; Sir Laurence Olivier's 1954 "period piece", and Ian McKellan's more modern interpretation (1995).
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.
Shakespeare, William. Much Ado about Nothing. Ed. Paul Werstine, Barbara A. Mowat, and Gail Kern. Paster. New York: Simon &ump; Schuster Paperbacks, 1995. Print.
The Influence of Commedia dell’arte on Much Ado About Nothing by William Shakespeare Commedia dell’arte had great influence of Shakespeare’s comedy “Much
Transformations inherently contain traces of the author’s social and cultural context. Much of the same can be applied to “Much ado about nothing”. It incorporates comical features, yet retains the sense of tragedy which is attached to almost all of Shakespeare’s plays. Brain Percival’s role as a director, was determining, understanding and distinguishing the social norms and the social structure of the society, and how the themes represented in the play can be transformed into a modern text. The Elizabethan society was typically a patriarchal society. Percival has used as well as transformed certain themes and textual features to ensure, that the film is more appealing and assessable to the critical modern audience.
"Much Ado About Nothing: Entire Play." Much Ado About Nothing: Entire Play. N.p., n.d. Web. 29 Mar. 2014. .
Much Ado About Nothing. Directed by Kenneth Branagh. Samuel Goldwyn Company and Renaissance Films, 1993.
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
Rossiter, A.P. "Much Ado About Nothing." William Shakespeare Comedies & Romances. Ed. Harold Bloom. New York: Chelsea House Publishers, 1986.
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.
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.
Much Ado about Nothing is set in the busy port town of Messina; this bustling port city is where the play opens. Messina’s hot climate makes it tranquil and agricultural; meaning the men returning from battle would view Messina as a welcome respite from the war. The idea of the soldiers returning to an idyllic setting, away from the battlefield, creates a ‘holiday mood’ at the start of the play. While the majority of the play is set at Leonato’s house, Leonato’s orchard figures as a central place of action too, particularly the blossoming of Beatrice and Benedick’s relationship, Shakespeare uses the beautiful garden to create a perfect backdrop for the whimsical romance that characterises the play. The setting of Much Ado about Nothing is also bigger than its physical realm; Shakespeare chooses to start the play in this tranquil setting to emphasise that pastoral will be an important theme in this play.
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.
Much Ado About Nothing. Directed by Kenneth Branagh. Samuel Goldwyn Company and Renaissance Films, 1993.
In literature, music can be used both to enhance the mood of the plot and it can be used as an actual part of the plot or story line. In Shakespeare's play "Much Ado About Nothing" music is used in both scenarios: both to set the mood and also as part of the actual story, serving as an event in the play, a necessary part in the sequence of events. The mood that is set by the music in the play seems to play a significant role in the progression of the plot in helping the audience become more aware of the character's feelings. Only with the combination of the motives of the music is the message of love able to be portrayed.