Much Ado About Nothing Film Analysis

Josie Rourke’s modern stage adaptation of Much Ado About Nothing is renowned for the hilarious reunion of the Doctor Who costars: David Tennant and Catherine Tate, whose chemistry is mesmerizingly brilliant and inevitable from the moment the two step on the stage. As said by the Guardian: “Tennant and Tate sparkle in Much Ado,” it is this sort of partnership that really enraptures an audience, the choice of pairing being one of the main highlights of the exceptional replication of the 16th century classic. The play centers Beatrice (Tate) and Benedick (Tennant), the disputatious lovers, who hold a reputation for being unapparent to the love that they clearly share for each other, going along with repartee, oblivious to the

The cast of the play are unaware of the audience, however, the audience is able to listen to dialogue that occurs throughout the theater, whether it is in the headsets between technicians, on stage between the actors playing their characters in the play and between the director and actors who make adjustments when necessary. The third fourth wall was at its edge of breaking, where the audience is almost unable to tell whether what they are experiencing is real or not. As an observer of the rehearsal of this play, this wall was broken when I understood that what I was watching was a rehersal of a play, of a rehearsal of a play. It was difficult to describe or understand when the cast of 10 out of 12 were actually in or out of character. The complexity of this play lies in the use of metatheatre, which has been exploited to its fullest extent

The movie ties in more brutality and violence to appeal to a modern audience that demands intense appeal to the senses. The play uses the simplicity of setting elements such as the balcony and common acting techniques to communicate Shakespear’s original message. Given the time period of the text, Shakepear’s use of these strategies are as modern as those unique techniques used in the movie. The movie and the play attract their audiences based on what appeals to them. Most importantly, both deliver the message to the audience that “For never was a story of more woe than this of Juliet and her

In the beginning of Much Ado About Nothing Benedick and Beatrice are strong-willed people who fear falling in love will lead to heartbreak. This cause them to deny their affections towards each other. This then causes the other characters to interfere in their love life. Another, example of manipulation is when Hero and Claudio's love for each other is torn apart by the deviousness of Don John's actions For Instance, Claudio, Don Pedro, and Leonato plan to trick

(I, I, Pg.4). Benedick tries to say that Beatrice is the only lady that he doesn’t love. He tries to hide the way he feels. At the party Benedick and Beatrice seem to find their way to each other, and Benedick doesn’t know that Beatrice knows that it is him, and she starts to talk about him, “ Beat. Why, he is the prince’s jester: a very dull fool; only his gift is in devising impossible slanders: none but libertines delight in him; and the commendation is not in his wit, but in his villany; for he both pleases men and angers them, and then they laugh at him and beat him.

Love in Much Ado about Nothing William Shakespeare presents love very differently in his play, Much Ado about Nothing. There is paternal, philia, innocent and romantic relationships; all that are key in the plot of the story. In 1 Corinthians 13:4-5, love is described to be and not to be many things; however, two descriptions really connected to Much Ado about Nothing. Leonato’s paternal love for Hero proves itself to not be lovable because of the biblical definition of the emotion; in fact, one of the only true loves, in my opinion, that Hero experiences is her philia with her cousin Beatrice.

However, due to their lack of trust, suspense is built to sustain a plot. Just as the problem arises quickly, the complication is resolved just as simply with the marriage of the young lovers. Throughout the play, the relationship between Beatrice and Benedict serve as a comedic relief. There snarky replies are well crafted such as Benedict’s view on Beatrice’s replies: “she speaks poniards, and every word stabs: if her breath were as terrible as her terminations, there were no living near her; she would infect to the north star.” In the final act, audience find compassion that Benedict and Beatrice hate relationship settles to a love relationship.

Benedick asked “Which is Beatrice?” and she stepped forward and unmasked herself then answered “I answer to that name. What is your will?” Benedick asked her “Do not you love me?” , they went on from their until Caudio gets a paper from Benedick’s pocket and Beatrice gets it and reads it.

Before Benedick and Beatrice decided to marry each other or start a relationship at all, they took a period of time to ponder their feelings and realize the best solution, something Claudio and Hero completely ignored. Once they decided to finally start a relationship, their joking nature didn 't change, displaying their friendship and love for each other as a main component that has not wavered. Even when announcing their relationship, a serious matter, Benedick joked, “But by this light, I take thee/ for pity”(5.4.92-93). It is obvious that Benedick does not actually think Beatrice is ugly, but their relationship is so strong that he can jokingly insult her. In contrast, Hero and Claudio had to remain respectful towards each other in order to not risk the marriage.

(2.3.231) The next scene is the final part of their plan, to convince Beatrice that she is in love with Benedick. Hero, Margaret and Ursula talk together while Beatrice is listening. Their conversation is fairly similar to the one the guys had. After the girls are done deceiving Beatrice and leave Beatrice comes to the realization that maybe she does love Benedick after all.

Benedick and Beatrice just roll with each other. They have similar wits and intelligence. This can be seen when Benedick first arrives. Beatrice says that “Scratching could not make it worse an ’twere such a face as yours were” (1.1.109) in which Benedick replies with “Well, you are a rare parrot-teacher.” (1.1.110).

William Shakespeare’s play Twelfth Night has been made into several film versions. The versions include the Globe Theatre version directed by Tim Carroll in 2012. Another version by Trevor Nunn was made in 1996, and a third version called She’s The Man made in 2006 was directed by Andy Fickman. A comparison of the media skills, characters, and the setting in the various versions of Twelfth Night and She’s The Man shows that

Claudio’s relationship with Hero is immature because Claudio only loved Hero for her beauty. When Claudio arrived at Leonato’s home, he quickly fell in love with her without even meeting her. He told Benedick about his feeling towards Hero, hoping that she is as sweet as he imagined her to be. In the text it says, “In mine eye she is the sweetest lady that I ever looked on. I would scarce trust myself, though I had sworn the contrary, if Hero would be my wife.”

It is difficult to distinguish what is good and bad, and as a result, there is much confusion amongst the characters. Even Benedick deceiving himself is not clearly one or the other. While his protections are to keep his heart safe, he comes off as arrogant and plays into the stereotype of a typical single man. In protecting himself, he hurts others. Benedick constantly belittles Claudio for wanting to give up life as a stag soldier, and it is implied that Benedick had caused Beatrice pain in a previous courtship, perhaps turning her to her anti-marital sentiments.

Play Analysis – Essay 1 “Much Ado About Nothing “ Submitted by Noor Ul Ain Shaikh (BSMS 2A) What seems to be a comedy play for an audience who enjoys a theatre with good humor and romance, “Much Ado About Nothing” contains much more than just entertainment. If we dig in deep, William Shakespeare’s play has much more than a tragic story with happy ending; even that is debatable. The theme of this play revolves around deception, plotting against your own, personal gains and rejection.