Kenneth Branagh has produced a thoroughly enjoyable romp from a Shakespeare classic.
The relationship in Much Ado About Nothing between Beatrice and Benedick – the flyting of confirmed singletons, whose verbal combats are the prelude to falling in love – has set a pattern for a lot of comedy pairings after them. The Restoration theatre produced a strong tradition of "screwball couple" plays, as did the 1940s cinema, and the same conventions form the basis of many modern rom-coms. Kenneth Branagh and Emma Thompson were actually married when they filmed this Shakespeare comedy, and their rapport, both in the bantering scenes and the few more emotional moments, provides much of the life in this production.
The cast for this Much Ado is an interesting mix of British theatre and film actors, such as Richard Briers as Signor Leonato, Brian Blessed as Antonio and Imelda Staunton as Maria; and American film stars, with Denzel Washington as Don Pedro, Keanu Reeves as Don John and Michael Keaton as Dogsberry. The accents aren't a problem, since everyone speaks in their own particular drawl and lets the sound take care of itself (apart from Keaton's deranged yokel growls Dogsberry, which are a minor highlight.) There is even a little colour-blind casting of Denzel Washington and Keanu Reeves as brothers, but in a Shakespeare film this is not particularly striking.
The acting itself has touches of ham – there is a lot of exaggeration and mugging to get over jokes to a film audience which may not be following every word. (Those who know the script will also notice a few cuts, even some apparent Bowdlerising, like the removal of the joke about the brothel sign.) Purists may disapprove of this levity, but it is a comedy after all, and Branagh's facepulling and falling off a deckchair provide some real amusement, in contrast to the dry chuckles too often heard at Shakespeare plays.
There is a definite sense of Much Ado being "brought to the big screen" in Branagh's Shakespeare film, and there are some impressive set-pieces, such as the opening sequence which cuts between the horsemen returning from the war and the women preparing for their return; the torchlit procession in memory of Hero's supposed death and the final wedding, which pans back from one courtyard out to a whole estate which seems to be dancing and throwing confetti. Though not subtle, it is difficult to resist the unaffected good humour of this film.
Much Ado About Nothing is a perennial favourite, still pulling in crowds with its combination of verbal sparring and love intrigue. Kenneth Branagh's 1993 film plays it as an unashamed romp, glossing over any awkward questions about gender equality in favour of feelgood romantic comedy.
