Here’s the first edition of an inevitable series of long discussions we’re calling “Steph & Jess Geek Out About Stuff.” First up: Joss Whedon’s Much Ado About Nothing. Consider the image below to be a fair warning.

Steph: First thing I want to say? The only thing that keeps this Much Ado About Nothing from being perfection is that Sean Maher doesn’t keep his promise to grow a black mustache. Him being a traditionalist and all ;)

Jess: I agree there should have been a mustache, but come on, worst flaw is a lack of mustache, that’s movie gold.

Steph: True :) So let’s start with what works, since that’s a pretty long list anyway. What are our highlights?

Jess: I by far think the best thing in the entire film is that they manage to take authentic Shakespeare dialogue with NO changes and absolutely make it work in a modern setting.

Steph: More than that? They actually added dialogue that a lot of adaptations choose to ignore or cut out. The scene between Margaret and Hero is a big one that I’m remembering. We actually debated if Whedon inserted a new scene only to find out later it’s in the original text. Not only that, but–and we’ll talk more about this later, I’m sure–the details of the scene are also worth mentioning, particularly with the dress Hero and Margaret debate over.

Jess: It is always in the details with Whedon–having Hero and Margaret debate over which dress to wear knowing that we earlier saw Margaret mistaken for Hero in the same dress was a marvelous touch. And on the additional scene front, the scene where Beatrice is sick was one we also thought was added, and it wasn’t. It was another scene that isn’t often done in movie adaptations of the play, and he used it perfectly.

Steph: To the point of making us wonder why the hell anyone would actually exclude it from their own adaptation. Another thing I admire? Whedon makes the scene feel new again. He alters a few scenes, namely ones between Benedick and Beatrice, that I feel add a new dimension to the play (I’ll get to the only scene actually added in a bit, though I think you’re dealing with it now lol). The two scenes I’m actually thinking of our their first encounter and their interaction at the party. In most adaptations, their first encounter is a public one and Benedick leaves with the upper hand; at the party, she gets back at him, but only privately. In this movie, we see that reversed. Their initial banter is privately done, which I think works. It adds a sense of familiarity. And the party? It makes Benedick’s lamentation to the Prince more believable because yes, she actually has embarrassed him.

Jess: Actually showing them have a one night stand that goes horribly wrong in the beginning, too? So many dimensions added because of that. I also like that their first interaction is done privately because it just further enhances the intimacy of the situation, highlighted by that opening silent scene. Also up for discussion is how much power he gave back to the women in this film.

Steph: Which is what I wanted to talk about. You and I both know that Whedon is a champion for women, which absolutely shines here. Beatrice has the upper hand more often than not, and what I especially like is how Hero is made into something beyond a paper-thin plot device. That scene at the end when she stares down at Claudio? The angling of the camera is all shifted to give her the power of that moment. Honey!

Jess: I also love that this is the first adaptation where I have actually been really invested in the Hero-Claudio plot. Normally, it is just a B-plot to the more interesting Beatrice-Benedick plot, but Whedon actually succeeded in getting me to invest in them as characters.

Steph: In addition, I feel he does put a lot of the focus back on Benedick and Beatrice. Usually I feel their relation is the one that is treated more “B-storyline” like. Everyone is so fixated on Hero and Claudio. But–I mean–that very last scene? Perfectly encompasses what the film was about. Everyone else is jamming, being goofy, having fun, and then we focus off to the side to see Denisof and Acker nuzzling (God, that neck kiss) in the foreground.

So let’s talk about that too: Wesley and Fred. Together again.

Jess: OMG I have been waiting for that reunion since they both died in each other’s arms (nevermind that it wasn’t really Fred in the finale). I have wanted NOTHING BUT THAT. Plus, that scene is just gorgeous, and since we are on gorgeously shot scenes, can we talk about the window pane scene? My God, that is the best shot in the entire movie to me.

Steph: I’m guessing you mean the one towards the end? Where we have the divider literally separating Benedick and Beatrice, each throwing a few weak jibes, before embracing and moving to one side of the divider? There are a lot of artfully done shots like this one. Whedon has had years of practice to figure out how to best move his camera and show rather than tell.

Jess: That scene is just beautiful, it completely took my breath away. Also before we get to far removed from the talk of giving women power, we have to talk about the gender switch on Conrad. That scene where they are in the bedroom talking through their plan. How much more heightened and amazing is that scene with something as simple as gender switch?

Steph: A lot. It gives more to the relationship between Conrad and Don John. Plus? That line, “I’d rather be a canker in his hedge, than a rose in his garden”: Holy context, Batman! Delivering that line while edging his knee between her legs? Sexy, evil, at last we have a formidable villain to work with (even minus the mustache. Maher, we know you lied).

Jess: And let’s face it, I have never really bought him as formidable villain in any other adaptation.

Steph: Agreed. Until now, Don John always felt like a catalyst to cause conflict. A weaker form of Iago, and just some guy who likes to cause trouble. On that note, let’s talk about how we’re introduced to his character. Do you remember?

Jess: I will have to admit I am a little fuzzy on his entrance because of champagne and cocktails but so the first scene I remember really taking notice of him (since I have already confessed to finding him more of an annoyance than a villain) was the bedroom scene where I had to reevaluate my opinion on him. BTW, how often do you get to say that? An adaptation made you re-evalute your opinion of a Shakespeare character.

Steph: Because Whedon is brilliant. And that man knows his Shakespeare. To go back to the first point, we’re actually first introduced to Don John as he emerges from the car, his wrist tied with zipties. This is another first in terms of adaptation, and, in my mind, gives him more of a motive to cause havoc. Oh! And another note. That line he delivers before “exposing” Hero. “You may think I love you not.” Now usually, I feel this is a line delivered to Don Pedro, but here he looks to Claudio, which makes more sense! Claudio has taken the place of Don John in Don Pedro’s company, so it’s understandable why he might feel John has no feeling. Also: “Even she; Leonato’s Hero, your Hero, every man’s Hero.” Chills! Until now, I always felt this line meant that Hero was all virtue. You know, as in, the “Hero” that everyone admires. But here, Maher puts the emphasis on man’s, as if to say, “Your honey been making time with every guy in town,” which is just evil and damn you love him for it.

Jess: Maher just really brings the presence and the delivery to these lines, and these are both brilliant examples of Whedon’s subtle direction here. All that has really changed in either situation is one glance and one word now emphasized, but it completely changes the context of the lines. Those lines take on whole new levels of meaning beyond the surface. I think even though all these changes are small and subtle, they combine to finally give Don John some weight, both as a villain and as a character.

Steph: On that note, let’s talk about another character who is usually just thrown in this play: Dogberry. Specifically, Nathan Fillion’s Dogberry. You first.

Jess: I have been waiting this whole conversation to talk about Nathan Fillion.

Steph: Oh Mal.

Jess: Let’s start with the costume, the simple use of that too big jacket really sells you on what his character is supposed to be before he ever utters a word. I feel like no one sells bumbling idiot who thinks he knows what he is doing like Fillion, and I am so glad he managed to make the time to film this because I don’t think anyone else could have done it justice. Oh, and I love the CSI scene with the sunglasses that was perfectly placed. Line delivery, glances, motions I feel like he nailed everything about the character. He lent a presence to this character that let’s face it Dogberry usually doesn’t get.

Steph: I think the word you’re looking for is heart, which is what Whedon and Fillion give to Dogberry this go ‘round. The scene I’m thinking of is the “You, sir, are an ass” scene. In Branagh’s version, Michael Keaton takes it as a mark of pride, because Keaton overplays the bumbling idiot card. Fillion, he’s not the brightest crayon in the box, but he’s far from being an idiot. When Conrad calls him an ass, he’s actually stung, and Fillion is very good at showing you the hurt puppy-dog eyes. He doesn’t actually do much to help his cause, but he at least knows he’s been insulted and I think that adds a level to his character that isn’t usually given.

Jess: I think we have just stumbled on why you are the writer. ;) That’s exactly right, Fillion has this great ability that even when his character is being an idiot, he always wears his heart on a sleeve (He’s especially good at this type of role on Castle, which is what it reminded me of). This is another thing Joss is really good at doing though is making you really care about characters that you normally would never give a second thought too.

Steph: And he’s also really good at picking the right actor for the character. We finally see the network Whedon’s been building all these years combine into something fabulous. Every franchise is represented in this one movie, and it’s freakin’ amazing.

Jess: Since we have made it to his network of awesome talent, we have GOT to talk about Denisof’s Benedick, and why in my opinion it is the best Benedick I have ever seen put to film. Lead the way!

Steph: Ooooh. I get first go? Why, thank you. *Cracks knuckles*

Okie dokie. Actually, Bradley and I have talked about this issue. Benedick is my absolute favorite Shakespeare character of all time (the line “The world must be peopled” does play a small role in this, I’ll admit), and until this movie, I did not think I could love another Benedick as I loved Kenneth Branagh’s.

What I love about Denisof is his subtlety. Let’s take the, “I shall be horrible in love with her” scene. In Branagh’s version (and again, I still do admire and love that version, if not slightly less now), Benedick literally shouts it to the heavens–it’s amazing Beatrice doesn’t hear him. In Whedon’s version, though, Denisof delivers the line softly but the camera lens suddenly zooms out over the landscape. Whedon balances the intimacy of the revelation with the literal “expanding horizon” of Benedick’s character. I think I actually heard a review that sums the point up nicely with Branagh films it like a play while Whedon films it like a movie.

Also, we have to remember that Benedick is the “not-actual” fool in Shakespeare’s play. Usually in a comedy (and occasionally in tragedies), we have the character who is supposed to be the fool and then the character who really is the fool. Benedick is a character who provides the good time, and therefore, other characters don’t usually pay him mind (“I wonder that you still be talking…Nobody marks you”). The danger of this is that when the change does come, it can seem too sudden and rash. With Denisof playing it slightly low-key, we do get that he’s the good-time guy, but we can also easily believe him to be a soldier as well. That moment when he waits for Don Pedro and Claudio…you feel the tension before a word is uttered. Then he shows the gun, and I’ll say this, it was the first time I toyed with the idea that maybe this time, Claudio would get shot. Before I go on, I’ll invite you to jump in :).

Jess: Well, you gave me first shot at Fillion and knowing your love for Benedick, it was only fair you start this particular ball rolling ;)

I agree totally, and I find this to be a case of Whedon knowing his network of actors and choosing so well. Denisof as Wesley on Buffy and Angel ran the gambit from fool to dark anti-hero, and he did it without ever making me doubt it was the same character. He takes those skills here and transfers them beautifully. I find him to be perfectly in character to be rolling around in the grass outside a window to eavesdrop on a conversation, and I love him dropping to do pushups during his monologue once he realizes Beatrice’s feelings. At the same time, the switch to serious Benedick is so effortless that it never feels forced or out of place. I was never as attached to Branagh’s portrayal of Benedick as you were (as we have previously discussed) because I always felt he took it a little too far the fool. I never once had that hesitation with Denisof. It is like you said he brings a subtly to his portrayal of Benedick that makes it inherently more believable when the switch occurs.

Steph: Plus, our Denisof is the first Benedick to shave the beard. What a lovely callback to Beatrice’s lines of “Lord, I could not endure a husband with a beard on his face: I had rather lie in the woollen.”

Jess: I know! Such a simple gesture, but it adds such weight. And I love him sitting there stroking his face in front of her to try and show it off!

Steph: And let’s talk about those simple and small gestures. The picture frame, for example?

Jess: I love him staring at her picture, and when he tries to hide it behind his back? Perfection.

Steph: The movie is made up of so many of these details. Hero’s bed with the doll on it? We get so much about her character without the characters having to remind us that she’s virginal and innocent. The doll says it all. Another nice detail? When Don John gets recaptured, and our faithful messenger shows it on his iPhone (which that alone was well done), the little “news” channel is called “iAm.” Definitely a nod to the iambic pentameter that Shakespeare uses in his writing. Well-played, Joss. Well-played.

Jess: I didn’t notice that! That’s an awesome detail. Another small subtle detail that I really loved was when Hero is wearing the veil so that Claudio won’t see her face they have her stand on an elevated step so that she is literally looking down on him as if to pass judgement. That was great. Really, this whole movie is a tribute to how Whedon takes the smallest props and smallest changes (gestures, expressions, genders, etc.) and uses them to completely change or enhance the context of the scene. He brings a subtly to Shakespeare that makes it so much more human than some of the big loud adaptations.

Steph: Ooh, that reminds me: Remember how excited we were when the characters set up the whole “Let’s get Benedick and Beatrice together” as a huge drunken bet? Let’s talk about that.

Jess: You mean the part where we squealed and clapped and people looked at us funny? I thought that was an unbelievably awesome way to introduce that plan, and it brings back the human element I was just talking about. Of course, that’s how they come up with the plan because that’s exactly how a bunch of friends at house party would come up with that plan!

Steph: And we constantly see them with drinks in the hand, and it just feels so organic and natural. This isn’t some contrived, oh let’s have with the shenanigans cause this be a Shakespearean comedy, yo. No no. This is something that could actually feasibly happen! And yet, we still get that level of surreal: The drunk Claudio chilling in a pool with a martini glass as three figures rise up from the pool behind him? Surreal, creepy, effective.

Jess: It is also the best introduction to Claudio ever and the first sign that this Claudio isn’t going to be a stock character. I actually feel for Claudio in this adaptation, while normally I just find him boring and in all honesty to be an idiot. Here, we are presented with a situation where his actions and beliefs are plausible based on the interactions we have seen.

Steph: So we already talked about one half of the amazing couple. Let’s shed some love on the always fantastic Amy Acker.

Jess: Let’s start at the beginning when she pretends to be asleep in that silent scene where Benedick is sneaking out of her room after a one night stand. Her expression gutted me.

Steph: It’s a total test. And Benedick fails miserable. It also finally FINALLY provides context to her line of how she lent him her heart once. As always, Acker is good on bringing on the pain.

Jess: He does fail the test, and he pays the price. It explains her attitude toward him and gives it such a deep, rich context. It shows so clearly why she has hardened her heart and chosen to hide behind insults.

Steph: Which means we earn that moment with her when she says, “And Benedick, love on.” Deep down she wants to, and we see that exterior finally melt. Going back to that, how great is she with the comedy? We never really got a chance to experience comedic timing in her other roles.

Jess: I know! This is exactly like when I found out SMG had such great comedic timing it completely shocked me because it is a side we have never really gotten to see of Amy Acker. She also sells the transition back and forth between the comedy and the emotional pain so well. That scene where she is overhearing about Benedick’s love for her is hilarious as she tries to hide underneath the counter and immediately turns deeply emotional as she delivers her monologue.

Steph: In terms of them together, I adore that scene where he confesses love and then falters with killing Claudio. There is so much charged energy in that scene.

Jess: There really is. It authentically feels like a breaking point for them. You can really feel Beatrice’s anger and pain, just as much as you can feel Benedick’s reluctance turn to agreement as his love for her wins out.

Steph: Part of me feels like we should find something to critique about….other than the mustache, of course, but I’m not finding anything. Let’s keep in mind that this entire movie was filmed in twelve days. Less than two weeks, and look what mastery we can achieve?

Jess: It is Joss Whedon. I am currently trying to find anything worth critiquing, but this movie was honestly note perfect for me. I could talk about it all day.

Steph: I think we just did. My one last note is the oddity that our Whedon–master of pain–chose a comedy to do over a tragedy. I have a feeling one of those would be next.

Jess: I am not sure I could survive a merger of Joss Whedon and a Shakespearean tragedy. All I ask is that it please not be Romeo and Juliet, those characters are way too stupid for Joss Whedon. Not a whole lot of ways to give the power back to Juliet when she kills herself at the end. Spoiler alert!

Steph: I’m with you there. And, if we’re completely honest here, Whedon’s already given us the star-crossed lovers plotline before. No, I heard a rumor if he were to go again, it’d be Hamlet. But I think what makes me nervous is we know how much heart Whedon puts into things, and I shudder to think how he could make even Polonius’ death a hard one to watch.

Jess: Whedon made my heart hurt several times in a Shakespearean comedy, I hesitate to think what he could make me feel with an actual tragedy, but (glutton for punishment that I am) I absolutely can’t wait to find out!