Wednesday, September 30, 2026

How to Make a Bachelor Fall In Love: Much Ado About Nothing (1993)

An analysis of Benedick and Beatrice in the 1993 film adaptation of Much Ado About Nothing

The brilliant lines and characters of Shakespeare come to life in this 1993 adaptation of the comedy Much Ado About Nothing. The story covers Hero and Claudio's journey to the altar, but the real stars of the show are Beatrice (Emma Thompson) and Benedick (Kenneth Branagh). They start the film trading witty insults, making the audience believe in their genuine disdain for each other. Then it is revealed by Beatrice that she had lent her heart to Benedick in the past, but he had won it with "false dice". This is interpreted to mean that they had a past relationship or friendship that ended in bad blood. But this hate does not go on for much longer when Don Pedro, Leonato, Claudio, Hero, and others devise a plan to play Cupid and trick them into loving each other. This film follows the story of the Shakespearean play but differs due to elements like its addition of physical comedy, music, changes to the dialogue, and the delivery of lines.

Profession of Love and a Request

Kenneth Branagh's 1993 film adaptation of Shakespeare's Much Ado About Nothing retains most of the original dialogue as written by the playwright while using costuming and prop placement to enhance the actors' performances. During the scene in the movie that contains the ending of Act 4, Scene 1, the entire set is muted Earth tones that are not visually interesting. The same is true of the actors' costumes. Emma Thompson, who plays Beatrice, and Kenneth Branagh, who plays Benedick, are both wearing primarily white costumes with minimal color accents. Simplicity in both the costuming and set directs attention to the actors and allows dialogue and movement to be the focal point

Branagh 1993 performance of Benedick and Beatrice love confession

In this scene, the glamor of the characters' appearance and the household's wealth are not the focal point. This is an intimate, vulnerable confession between two people. Because the set is small and inside a religious space, it intensifies the intimacy of the love confession that Beatrice and Benedick share.

In this scene, Beatrice ventures into the church to seek comfort after the events of Hero's disastrous wedding to Claudio. When Benedict finds her to offer comfort, they confess their true feelings for one another. Benedick, in his declaration, offers, "Come, bid me do anything for thee" (4. 1. 302). Understanding her place in society as a woman, she pleads for him to seek retribution for Hero's ruined reputation. His denial of her request visibly passes over her face; her eyes drop, and she moves out of his space before attempting to leave the church entirely.

Branagh 1993 Beatrice's reaction to "kill Claudio"

Her heartbreak and frustration are visible in the way she moves to push him away from her. When she realizes she cannot move further, she turns back to the altar before speaking again. In her rage, she pushes over furniture inside the church. Benedick watches her with his back facing the audience, giving his full attention to the woman he loves even if he cannot comply with her request to kill his closest friend.

Works Cited

Shakespeare, William. Much Ado About Nothing. Edited by Paul Werstine. Folger Shakespeare Library Edition. January 2004.

Much Ado About Nothing. Directed by Kenneth Branagh. The Samuel Goldwyn Company. 1993.

Beyond The Mask: Benedick And Beatrice In Kenneth Branagh's ‘Much Ado About Nothing’ 1993 Film

'Much Ado About Nothing' 1993 Film Poster

Benedick's Realization: How Comedy Can Differ

This blog will be covering the different approaches taken by artists in their interpretations of Shakespeare's Much Ado About Nothing. Specifically, it will delve into a scene comparison analyzing the differences between Joss Whedon's 2012 movie and the 2019 play, Shakespeare in the Park, directed by Kenny Leon. The scene in question is Benedick's eavesdropping, wherein he learns of Beatrice's supposed secret love for him, which takes place in Act I, Scene II of the play.

Benedick and Beatrice:

The two depictions of Shakespeare's Much Ado About Nothing have differing portrayals of the romantic leads, Benedick and Beatrice. In Joss Whedon's 2012 film, Benedick is shown to be a more insecure, vulnerable man beneath the surface. During his time alone, we frequently see him worriedly pondering the happenings of the play around him. We see this very clearly in the eavesdropping scene, wherein he looks thoroughly concerned and excited to be hearing this information. Outwardly, he shows confidence, but this adaptation shows a deeper side of him that makes that confidence and banter with Beatrice feel like more of a shell. As for Beatrice, Whedon's portrayal of her is one of an independent, witty, and emotionally guarded woman with interest in Benedick. This creates a more traditional romantic-comedy feeling relationship between the two that tends to have more romantic tension in their interactions.

1:30:37 in Kenny Leon's Shakespeare in the Park

Oppositely, in Kenny Leon's 2019 play, Benedick is stylized as a more conventional romantic lead. He does not just seem confident; he is indeed confident, and his character reflects that in his body language and lack of concern and vulnerability that we see in Joss Whedon's film. This creates a nice contrast to Beatrice's character, who is portrayed more unconventionally. She is portrayed as having much more genuine anger and rebellion within her. One such scene that really nails this personality home for the audience is her reaction after Claudio's outburst. She exclaims, "O god, that were I a man!" (4.2.320). Much of her character's portrayal revolves around her awareness and fight back against gendered power differentials. This goes on to later affect their relationship by seriously changing the depth and charge of when she orders Benedick to challenge Claudio.

A Key Difference in Sound:

0:43:38 in Kenny Leon's Shakespeare in the Park

In Kenny Leon's Shakespeare in the Park, we are shown a comedic, musical scene wherein Prince, Claudio, Leonato, and Balthasar all sing and converse about Beatrice's secret love whilst Benedick hides and listens happily. Their song is a far cry from the original lyrics written in the play, instead being portrayed as a much longer winded song that sees the whole group join together in unison to sing. In the original play, though the comedy is certainly present, it is not taken to such extremes and the scene is not quite as stereotypically "musical" as the 2019 play shows. This take on the scene fits the more outlandish, comedic, and dramatic tone of the entire play.

0:39:04 in Joss Whedon's Much Ado About Nothing

In almost entirely the opposite direction, Joss Whedon's 2012 film interprets the scene almost completely devoid of music. As Prince, Claudio, Leonato, and Balthasar enter the room wherein the conversation is to be held, they merely turn on a speaker and begin playing some background music to enjoy while they speak. There is no singing or theatrics on behalf of any of the gentlemen involved, and they instead almost immediately leap into the conversation, skipping much of the dialogue revolving around the song. Despite this, the scene is indeed played in a thoroughly comedic manner.

How the Comedy Differs:

Kenny Leon's Shakespeare in the Park is meant to play further off of the music added in the original text, a short song sung by Balthasar beginning at 2:3:64 and ending at 2:3:79. This creates a far more outlandish scene that plays out like a musical, with everyone joining in song, which fits the interpretation well. The entire take on Much Ado About Nothing is made for the stage and dramatics, with creative liberties being taken throughout to more closely match that tone.

Joss Whedon's Much Ado About Nothing is meant for something entirely different: cinema. The film is carefully shot with proper cinematography rather than being performed on one stage in front of an audience, changing how the comedy will be perceived by its audience. As such, throughout the interpretation, Joss Whedon makes small changes from the original text in order to better fit the chosen medium. He opts instead for more physical comedy, having Benedick poorly hide behind a small broken branch and rolls from window to window in pursuit of those holding a conversation.

The Dialogue:

One interesting difference between these adaptations that is very apparent in the aforementioned scene is the dialogue.

In Shakespeare in the Park, much of the dialogue throughout the scene is changed in some manner to more closely reflect how the characters within the play would speak during the time frame it takes place. Words are dropped or slightly changed, and the intonation also vastly differs from its Joss Whedon counterpart. One such example is when Balthasar exits after his song, and Prince exclaims, "Leonato!" (0:44:21). It fits a more modern attempt at catching someone's attention, whereas the original play is written to say, "Come hither, Leonato." (2.3.95). A small change, but one that is seen across many similar cases throughout the scene and play. This looser, more adapted to present-day language interpretation is befitting of the play's setting and characters, and works well for its comedy.

In Joss Whedon's Much Ado About Nothing, such changes are much fewer and far between. Though both interpretations drop some lines, the actual spoken dialogue of the film is a near perfect match to what is written in the original play. The intent behind this was to provide contrast to the more cinematic visuals and physical comedy shown within the film, allowing for the standard elements of comedy found within film and movies to be shown without altering Shakespeare's original words. The intonation throughout much of the film is also far more casual and less played up for the crowd. Many of the characters' interactions are portrayed to be more "believable" than its stage production counterpart, which intentionally relies on suspended disbelief from the crowd to portray a more dramatic telling of events. You can see and hear the difference in the scene shown below:

Conclusion

The different depictions of the two characters and their relationships reshape and reveal the end goal of either production. Whedon's interpretation shows a more cinematic rom-com-esque telling of events while remaining faithful to the original dialogue, whilst Leon's stage production has subliminal political and social messaging shown in the characters' portrayals.

Works Cited

"Much Ado About Nothing." Directed by Joss Whedon, Lionsgate, 2012.

"Much Ado About Nothing." Directed by Kenny Leon, Great Performances, 2019.

Shakespeare, William, et al. Much Ado about Nothing. Folger Shakespeare Library ed., Washington Square Press, 2002.

New Love and New Hate

New Love and New Hate

In one scene Shakespeare treats his audience to both the confessions of love and the confessions of hate in the end of act 4 scene 1 lines 269-350 of his play Much Ado About Nothing. This play, and by extension this scene, has been performed and adapted many times over. Two of these adaptations that stand out are Shakespeare in the parks 2019 performance directed by Kenny Leon, and The Globe Theater's 2011 performance directed by Jeremy Herrin. Even though there are little to no changes from the original text both performances have their own take on the scene resulting in two different viewing experiences.

Herin 2011 stage and costumes from opening

Starting from the broader visuals of the performances we can see a clear difference from the two. Leon chose for his Much Ado About Nothing to be set in modern Georgia with an all-black cast and costumes that reflect both of those aspects. The stage is reminiscent of a backyard which offers more of an environment to interact with. For example, in this scene starts with Beatrice sitting on a wall to lament her sorrows over her cousin's ruined reputation. In contrast, Herrin's performance is much more faithful as The Globe Theater prides itself on being as close to Shakespeare's original as they can get. Between the thrust stage and the period costumes the only thing they are missing is that women weren't allowed on stage in Shakespeare's time, which Herrin thankfully doesn't follow. At nothing but a glance you may think these are completely different plays despite both follow the original text quite closely. This flexibility to change time and place follows the universality of Shakespeare's plays, a large part of the reason these plays are still relevant today as they speak to universal human experiences.

The words of the play are almost completely unchanged from the original Shakespeare in both performances. Herrin follows the lines with no change in this scene. Leon cuts lines 329-331 from Beatrice for the purpose of modernizing the play just a bit further as modern audiences may not grasp the meaning behind "Princes and counties! Surely a princely tes- / timony, a goodly count, Count Comfect, a sweet / gallant surely!" These lines are mostly puns off of the words count, account, good, and confectionaries which would not land with modern audiences without an explanation handy. Because of the emotionality of the scene the decision to cut these lines makes sense to avoid confusing the audience and drawing them out of the experience.

Leon 2019 "Kill Claudio"

A point of difference between Shakespeare, Leon, and Herrin is the delivery of the lines. In Shakespeare's written text it is very easy to let the characters engage in a very simple back and forth. There are plenty of punctuation to show pauses and breaks within the lines, but tone and mood can vary from reader to reader. Meanwhile performances can take this even further with exaggerated emotions and changing the timing of the delivery. This difference can be seen in Beatrice's line "Kill Claudio" (4.1.303). When reading the text, it can be read as a direct response to Benedick's question as a straight statement, this is just a fact of what Beatrice wants. In Leon's performance this line is delivered after a long pause in a whisper. Beatrice isn't just saying the line she is realizing that killing Claudio would restore Hero and honestly asking Benedick to do this for her. In Herrin's performance Beatrice fires back with the line immediately after Benedick asks what he can do followed by a pause filled with the audience's laughter. Beatrice says the line while her voice is tight with crying in a whine. She sounds like the request she is making truly is the extreme option which she only says to say the obvious but ridiculous answer even though she won't get it, which only strengthens Benedick's calm but confused refusal. It is comparable to when someone complains about poor work ethic and when asking for advice gets told to pay the employees better. These changes in delivery can change the way, not just the story, but the characters, are seen by the audience.

Herrin 2011 Benedick reacts to Beatrice's threats

Beatrice and Benedick become three different people when these versions are placed side by side. Shakespeare's Beatrice and Benedick are witty with a flat almost sarcastic affect to them. This is caused by the reader being able to understand the underlying emotions, the jokes, and the ridiculousness of what is written but the dialogue coming across as two people speaking to each other in a normal tone of voice from the reader's inner voice. Leon's Beatrice is bold speaking out directly about who has wronged her and what he deserves. Her emotions go through a range of quiet sadness and love to the righteous anger shown best in the lines "O God, that I were a man! I would eat his / heart in the marketplace" (4.1.320-321). Benedick is much calmer than Beatrice with his lines being delivered in a sincere and soft voice. He is speaking as if no one else in the world matters other than Beatrice. In Herrin's performance Beatrice takes on an almost manic energy with fear and anger mixing as the intensity of her lines increases as they go from about to cry, to shouting and ranting as she paces around the stage. At the line quoted above Beatrice scares Benedick as she threatens Claudio. Benedick meanwhile is trying to be the voice of reason but failing and falling into the same energy as Beatrice as he shouts back at her to get her to calm down.

Leon 2019 Physical Expression of Love

Shakespeare notoriously uses stage directions only when absolutely necessary. Because of this the majority of the blocking falls to the directors and actors to create on their own. The only real stage direction in this scene is Beatrice starting to leave before then continuing with her lines. Within the lines of the text there are some built in stage directions like Beatrice weeping at line 269 and Benedick kissing Beatrice's hand at line 347. This freedom of movement is another way to see how each performance interprets the characters. In Leon's performance Benedick comes into Beatrice's space to comfort her when she cries and to confess his love to her letting Benedick show the love he feels. When Beatrice attempts to leave Benedick follows her, and while he does reach for her arm, he doesn't physically stop her. This shows a gentleness as he doesn't want to hurt her as well as a kind of trust and care as he wants to continue the conversation to hear what she has to say and not dismiss her feelings. In Herrin's performance Benedick doesn't come into Beatrice's space until she tries to leave where he physically grabs her to stop her almost like he is trying to restrain her. Benedick forces Beatrice to continue the conversation with him as she grows even more manic pacing around the stage until he does finally calm her down before the end of the scene. This Benedick is more controlling of Beatrice while also not afraid to match her energy to do so. In both productions Beatrice paces as emotions rise which attracts the audience's attention to the emphasized emotions. In Leon this shows the righteous anger, while in Herrin this shows the manic fear and anger.
When put together these elements create truly masterful performances. Leon brings forth an emotional range from his actors resulting in sincere confessions of love, pain and sorrow toward Hero's circumstance, and an all-consuming rage toward the offending Claudio from Beatrice all while Benedick tries listens to his Beatrice to see her pain and doing what he can for her. Herrin allows his Beatrice to express the fear and anger in a fast-paced rant as though the emotion has taken hold which Benedick tries to calm his love as the voice of reason, and eventually only does so when he matches her energy and shouts at her in response. Leon leans into the audiences drive for justice while Herrin leans into the comedic nature of the play. Both adaptations are loyal to Shakespeare's written text while adding to it to create new and rich experiences. Many adaptations of Much Ado About Nothing have been made and many more will be made. They all deserve to be viewed in their own right as they don't take away from the original, they add.

After Hero's "Death"

Act IV, Scene 1, Lines 270-350 of Shakespeare’s Much Ado About Nothing immediately follows the denouncement of Hero by Claudio at their altar and the “death” of Hero at the suggestion of the Friar. This scene-within-a-scene includes Beatrice’s iconic line “O God, that I were a man! I would eat his / heart in the marketplace” (4.1.320-321) and portrays Beatrice’s power over Benedick to use his masculinity and the privileges it brings for her (and Hero’s) benefit. Adaptations of this scene, as will be shown through the Shakespeare in the Park’s 2019 production and Kenneth Branagh’s 1993 film, display the significance of this scene via the clothing of the actors and physical interpretation of the original text, which has no stage directions, with both adaptations expanding upon Beatrice and Benedick’s dynamic in unique and visually compelling ways.

Shakespeare on Stage: Much Ado About Nothing (2019)

While staying completely true to Shakespeare's original dialogue, the Shakespeare in the Park Much Ado About Nothing (2019) distinguishes itself via its modern lens and the actors' inflection, blocking, and choice of costumes.

Beatrice, moments before asking Benedick
to kill Claudio. Notice her expression and
the differing colors of their outfits.

Beatrice is seen in a blue jumpsuit, setting her apart from the other women in the previous wedding scene, who are all in dresses. This cool tone mirrors her attitude towards Benedick: though she cares deeply about him, she is not willing to give up her own agency and beliefs (such as about how her cousin should be treated) for his sake. The final wall that must come down between her and Benedick, through her eyes, is Claudio. Benedick, on the other hand, sports a red tailcoat, reflecting his warm affection towards Beatrice despite what happened to Hero. Though he agrees with her that what happened was wrong, he does not view it as a barrier in the same way Beatrice does despite his willingness to fight on her behalf.

Before suggesting a duel, the contemplation on Beatrice's face is noticeable - we see her weigh her options and ultimately decide on the use of this situation as a proving grounds for Benedick's love. It is here that her attitude changes. She has moved from sadness at Hero's dishonor to anger and the need for justice. She creates physical space on stage between her and Benedick, a gap which is only bridged (blocking-wise and emotionally) once Benedick agrees to her proposal. In the meantime, Beatrice expresses this anger by pacing around the stage, speaking louder, and gesturing more often. It is a stark contrast to her demeanor at the beginning of the scene which was reserved, quiet, and still. The camera's focus shifts to Beatrice as she lets out her frustration, delivering her speech in lines 315-321 to the audience apart from her pivotal line, which she addresses to Benedick directly.

Beatrice gives her iconic line, turning away
from the audience and towards Benedick
to do so.

Beatrice puts her foot down and, seeing as this is the first scene her and Benedick are alone together in this production, makes it clear that she is a headstrong character, one who needs to assert herself before anything else. Benedick's reaction to this - giving her time and space to finish her speech before approaching her and kissing her hand, therefore accepting her command to kill Claudio - is a physical manifestation of his devotion to her. What is only implied beforehand via their playful, joke-sounding banter and stolen glances (both choices of the actors themselves) is finally proven to us through this scene.

Shakespeare on Screen: Much Ado About Nothing (1993)

Branagh's Much Ado About Nothing preserves the essence of the original scene by barely cutting dialogue. The minimal costumes and setting force us to focus completely on the actors' and their interactions with their environment, which make this adaptation especially unique.

Beatrice after Benedick's hesitation.

Visually, this scene is composed almost exclusively of close-ups, allowing us to watch and absorb both actors' expressions. Little emphasis is placed on anything around them. We see Beatrice's sorrow regarding what has happened to Hero, quickly followed by Benedick consoling her. A major difference here is their kiss, which happens at the height of Beatrice's emotions, right as she realizes what Benedick can do for her. It's as if their relationship is sealed before the ultimate trial. However, upon Benedick's hesitation, Beatrice gets up and leaves. For the first time, the camera zooms out, reflecting their sudden disagreement and the space that is rapidly growing between them.

The scene continues in this manner. With no audience to speak to, Beatrice lets out her frustration using the props around her and turning over the kneeler. We see only the back of Benedick - the focus is entirely on Beatrice in her time of desperation. Acting-wise, her anger manifests much differently in this adaptation than in the 2019 version. She cries as she speaks, acting out physically, collecting herself on the altar, and eventually ending up on the floor as she begins to relax. Still, though, Benedick does not interfere. He allows her to be upset instead of trying to prevent or diffuse it. As the camera finally switches back to Benedick, his understanding shows in his calm expression. Beatrice made her thoughts known to him, and as someone who was not necessarily a physical character before this scene, it is obvious to Benedick that Hero's betrayal meant a lot to her based on these movements and interactions with the things around her.

Benedick with his back turned, allowing us
to zero in on Beatrice.

The last few lines play out more as a heart-to-heart. The camera angles return to simply switching between the two characters as they speak. Even the music suggests their agreement: it is peaceful, slow, and quiet. However, after Beatrice leaves the chapel, Benedick has a sad, almost nervous expression after having agreed to kill Claudio, whom he considers a friend. He cares so deeply about Beatrice that he is willing to risk his comfort and companionship in accepting to duel his friend.

Final Comparisons

Being a stage production, Shakespeare in the Park's Much Ado About Nothing utilizes the whole of their stage as a means of characterization for Beatrice in this scene specifically. She commands the vicinity in a way that proves her strong will and stubbornness. She is over-the-top on occasion, but is also capable of the seriousness shown in Act IV, Scene 1. She wastes no time on those who are not compatible with her. Benedick knows this and proves that he is. Though taking a back seat in terms of blocking in this scene, he is a witness to her attitude. His physical passivity in this scene shows his willingness to help her in the duel, a willingness which is given with less hesitation than in the 1993 version. Also different in the 2019 version is the relationship between Claudio and Benedick, who argue earlier on in the show and do not seem to be as personal with each other. Therefore, Beatrice calls, and Benedick answers, promising himself entirely to her.

Much Ado About Nothing (1993) differs in its blocking and camera angles thanks to it, in part, being a film production. The space Benedick and Beatrice occupy is much smaller, and the scene in general is a lot less grand, opting for a quieter, more intimate interaction instead. This could also be due to the period-accurate setting, which held different expectations for dress and the behavior of women. Nonetheless, Beatrice still proves herself to be ahead of her time and commanding of respect in the way Shakespeare displays in his original text. Her line asking Benedick to kill Claudio is silent and personal - its obvious she knows of Benedick and Claudio's friendship, which she uses to her advantage - she forces Benedick to choose either him or her. Benedick, as Shakespeare wrote, chooses Beatrice, though I would argue without as much fervor as in the 2019 version.

Works Cited

Much Ado About Nothing. Directed by Kenneth Branagh, BBC Films, 1993.

Much Ado About Nothing. Directed by Kenny Leon, 2019.

Shakespeare, William. Much Ado About Nothing. Folger Shakespeare Library, 1995.

Beatrice and Benedick: From Shakespeare's Play to Branagh's Film

Introduction:

When I read Much Ado About Nothing, the one thing that stood out to me the most was Beatrice and Benedick's playful and witty relationship with one another. They both were constantly wanting to get the last word in and making jokes to one another along the way. Even though they act as though they can not stand one another and want absolutely nothing to do with the other, their relationship becomes something that shows us all there is very obviously something between the two of them.

After watching Branagh's 1993 film version of the play, I noticed that the relationship between Beatrice and Benedick stays the same, but the film allows the reader to see these characters come to life. When reading the play, I had to imagine the characters, what they sounded like and what they looked like, but in the movie the actors make those choices for us as viewers with their expressions and body language.

The Original Play:

In the original play by Shakespeare, Beatrice and Benedick are introduced as two people who have possibly already met and have history with one another. When Benedick returns from the war to Messina, Beatrice instantly starts by making fun of him and soon their conversation starts to become a competition. Both Beatrice and Benedick are trying to prove that they are smarter, funnier, and wittier than the other.

Their dialogue is the biggest thing that sets their relationship with one another apart. Shakespeare gives both characters very clever wordplay, which sets them apart from other characters. I think that this is a way for both of them to protect themselves, without showing their true feelings and getting hurt. Benedick says he will never love, and Beatrice makes it clear that she has no interest in marriage. As the audience, we obviously figure out later that both of their statements and minds change about one another, and neither one of them is as against love as they originally claim to be.

Their relationship with one another only really starts to change when other characters become involved. Benedick's mind starts to change about Beatrice and love when he overhears Claudio, Don Pedro, and Leonato talking about how Beatrice is in love with him, and Beatrice changes her mind about Benedick when she overhears Hero and Ursula talking. And once each one of them hears about the other person loving them, they start to change the way they see their relationship with one another.

Branagh's 1993 Film:

I chose this movie adaptation version because it keeps Shakespeare's original dialogue, which I think works incredibly well for the characters, especially Beatrice and Benedick. Their relationship with one another relies so heavily on the dialogue between them, so keeping the original dialogue allows for the same humor to stay connected to Shakespeare's writing.

Along with that, the film changes the experience while watching by putting the story in a beautiful outdoor setting in the countryside. The bright scenery, gardens, and open spaces make watching a different experience from simply reading the play. The setting makes the story feel more romantic, and the lightness of the setting helps fit the story being told. Branagh also uses the camera to show things that are not seen or imagined on the page. You can see the body language, the expressions, the reactions, which can sometimes tell you more about the scene than just reading the words.

Act 1, Scene 1:

I think that one scene that really stands out in the differences between the play and the movie adaptation is Act 1, Scene 1. Specifically, when Beatrice and Benedick start arguing with one another. In the original play, their relationship comes strictly through dialogue, and their insults make it clear that they know one another even though you don't get the background information on their relationship before the play begins. But Branagh's movie makes it even more obvious because you can see the actors interact and see how they are trying to one-up one another. Movie Beatrice comes across as very confident and quick-witted. She does not seem intimidated by anything because when she insults Benedick, she seems very comfortable doing it. Movie Benedick is also very confident, and he really enjoys the arguments and bickering with Beatrice. You can tell just by watching the scene unfold that they don't seriously dislike one another; it actually seems to come off as flirting.

This is one of the aspects that can be easily compared between the play and the movie. The words are somewhat giving you the impression that they enjoy one another, but watching and seeing real interactions between two people adds a whole new layer of understanding for these characters while seeing their expressions and body language.

What the Camera Adds:

The camera is one of the biggest advantages of the film over the written play. When reading the play, you have to imagine every little thing that is going on, and it can become quite confusing to understand everything. At least for me personally, I found it difficult to understand everything that was supposed to be going on on the page. There are obviously the stage directions, which give some information as to how a scene is supposed to be played out, but a lot of it is left to your own imagination. But when watching the movie, it's so much easier to understand everything that's going on. You can see everyone on the screen who's supposed to be in the scene, see the details, and how everyone reacts to one another. Although the written play is great and the story is enjoyable, it does make it slightly confusing as to what's going on because of the imagination factor.

But this is especially important for Beatrice and Benedick and their relationship with one another because they often say one thing, but their actions suggest something different. Like how they may be insulting one another, but their expressions suggest that they are enjoying each other's attention. I just overall think watching the movie and seeing everything play out makes an audience more aware of the attraction between the two earlier.

Beatrice & Benedict's Relationship:

Something I found interesting about comparing the play and the movie is that Branagh's film makes it so much easier to see why Beatrice and Benedick fall in love in the first place. In the play, we know about the constant arguing, but you have to completely imagine what it would look and sound like. But in the movie, Beatrice and Benedick have such a strong connection, and the chemistry is amazing to watch. It makes their relationship seem so much more obvious than the writing. They both enjoy challenging one another, and neither one is willing to admit that the other is the perfect match for them. Which is so entertaining to watch and see unfold.

It's just so enjoyable to see their relationship unfold. In both the written play and the movie, I find it entertaining because they both go from being completely against love to suddenly actually caring about one another. Their relationship just works so well because they are genuinely so similar. They are both so confident and independent, and they are just so perfect for each other because they can actually keep up with one another.

Work Cited:

Shakespeare, William. Much Adoe About Nothing, First Edition. Folger Shakespeare Library https://shakespearedocumented.folger.edu/resource/document/much-ado-about-nothing-first-edition

Much Ado About Nothing. Directed by Kenneth Branagh, The Samuel Goldwyn Company, 1993.

Lover's Confession, Seen in Rourke & Herrin's Much Ado About Nothing

Promotional material for Josie Rourke's production, 2011

Act four, scene one of Much Ado About Nothing sees Hero’s perceived betrayal of Claudio exposed in front of nearly the entirety of the main cast. There is a trove of reactions to pore over in this scene, with each of the main cast giving their own opinions and thoughts on the matter that reveals a core aspect of their characters. I will be examining Benedick and Beatrice's interaction afterward, where she requests Benedick challenge Claudio to a duel to the death. The iteration I chose was the 2011 play production that starred David Tennant and Catherine Tate and was directed by Josie Rourke. I also chose to compare it to the 2011 Globe Theater production of the play, directed by Jeremy Herrin.

Adaptation

Lines do not differ much from the source material in either play. They are about as faithful as can get in reading the original script. There are some slight changes to dialogue that make for very interesting character exploration in either production. Where the differences really begin to show with these productions, however, is in the stage direction and costuming. This, along with line delivery, does wonders in terms of characterization. Subtle breaks in dialogue and reactions from either character add an incredible amount to the text that would not have been gleaned otherwise. The scene itself is one of the most important of the play, as it is the moment Benedick professes his love for Beatrice, and her request for proof. There are many ways to play this scene out, and both Tennant and Tate make these characters out to be very silly. It compliments the text, however, as these characters are already witty and charming. The Globe production leans even further into the comedy of the scene. Whereas the Rourke production turns serious as Beatrice laments that Benedick would not kill Claudio, Herrin's play keeps up the absurd comedy of Beatrice's rant.

Line Reading & Direction: What Does It Do?

The finest example of what these two actor's take on the character adds to the play would be in Benedick's telling Beatrice that he loves her. In the text, he states "With no sauce that can be devised to it. I/protest I love thee" (4.1.293-294). The text, as with all Shakespeare plays, has no written stage direction, leaving Beatrice's reaction to this up for interpretation. Catherine Tate's performance in this scene lends itself to the comedic nature of the play, with her throwing her hands up in the air and screaming rather giddily.

This reaction, and the ensuing antics afterward, mirrors the catharsis felt by the reader as these two characters, who have been pining for each other, finally confess their love. What's also of note in this scene is Tennant's delivery of such a pivotal line. His tone, seemingly brimming with excitement at the prospect of revealing his feelings for Beatrice, reinforces the cocky, back-and-forth banter that they've shared previously. It also simply serves as an incredibly wholesome moment before he is asked to do the unthinkable. There is a slight line change, albeit still important, when she does ask him to kill Claudio. The text reads Benedick respond, "Ha! Not for the wide world" (4.1.304). Tennant -- and presumably Rourke purposefully remove benedicks scoffing at the request. He instead grows solemn, shifting the scene in a more serious direction. It is wonderfully telling of this version of Benedick that he regards this as a terribly serious thing she is asking for. There is more that is changed, still subtly. Benedick goes to embrace Beatrice as they argue over Claudio's fate. Yet, she pushes him away telling him to let her go. This change, so minute, goes the distance in emotional impact. Tate includes it with such sorrow that you cannot help but feel for her. As she pleads for Benedick's action, Tate does something interesting. She grabs onto Tennant's hands and leads him along the stage. This all happens as she laments that she cannot kill Claudio herself and restore Hero's honor. This is a nice touch. It backs Beatrice's want to take up the duties, and the hands, of a man to do what Benedick refuses to at that point in the story.

Eve Best(right) and Charles Edwards(left)

The 2011 Globe production, as stated before, leans absolutely into the more comedic aspects of the script. Beatrice, after hearing that Benedick will not slay Claudio, she says, "O God, that I were a man! I would eat his/heart in the marketplace" (4.1.320-321). Tate's performance of Beatrice has a great amount of sorrow behind it. Eve Best turns the dial all the way up, melding rage with absolute hilarity. Her delivery and emotiveness is over the top in the best way, prompting laughing from the crowd, but also widespread applause. Charles Edwards attempts to interject multiple times during her speech about Claudio and Hero, perfectly representing his callousness in the face of adversity, a trait the reader and watcher has become keenly aware of with Benedick. This attempted interjection, along with Best's slurred delivery of the tirade, only makes the scene even more humorous. There is less emphasis on the aforementioned catharsis that was in the other version. In fact, along with most other aspects of this scene, the emotional payoff of Benedick's admission of love is also more of a punchline than a genuine moment. Best and Edwards seem to play off the interaction as something to get off their chest and be done with. It really does pay off here as well, with raucous laughter being heard with nearly every line delivery in this scene. It really recontextualizes how differently Shakespeare's texts can be read and interpreted.

Costuming

Tennant in Superman gag outfit

The costuming for this play tends to be all over the place, with characters switching in and out of clothing from separate time periods. Benedick is seen wearing a beat up Superman shirt earlier in the play, serving as a ridiculous gag for him to be wearing such attire at his station. In this scene, He wears a decorated military outfit, typical of high ranking individuals in the service. This outfit choice is perfect for the scene, as he wears a symbol of strength and protection, yet hesitates -- and even denies -- the duties he is being given by the woman he loves. It highlights the contradiction presented in the scene and matches even better with the dialogue between the two. Beatrice laments, "O, that I were a man for his sake! Or/that I had any friend would be a man for my sake" (4.1.331-332). She prods at Benedick, tempting him into listening to her, and challenging not only his love, but his masculinity. All the while, he is adorned in this flashy showing of honor and strength, the very symbol of his pride as a soldier. Beatrice's outfit in this scene is also important to her characterization. In the moment prior to this, all characters gather to the scene where Claudio humiliates Hero in front of her friends and family. The women, there for the ceremony, are all dressed in flowing white gowns with headpieces. Beatrice, however, arrives in a simple blue dress, without any jewelry or accessories. It is important that she wears this because, not only does it pair with her characterization of being less "ladylike" than the rest of the women in the story, but it also mirrors her wanting to be able to fill a man's duties in this scene. It is kept a dress on purpose, as well. Beatrice does not want to become a man, per se, but she wishes she could take up their duties just this once if Benedick will not.

Costuming for the Globe production is very period accurate, down to the vests and stockings and boots. The signifiers of character lie within the coloring and accessory, rather than the clothing itself. Beatrice wears her hair up in a band for the duration of her argument with Benedick, a signifier to her willingness to avenge Hero. She also wears a skirt and shirt, though the shirt is unbuttoned, leaving only an undershirt. Beatrice's wanting to set out on a quest for revenge, but being restrained by her social status is put on full display with these costuming choices. She wears red with golden accents, symbolizing not only her anger in the red, but her pride in the gold. Conversely, Benedick wears a cool blue vest, buttoned almost to the top. At his waist hangs a red handkerchief. This handkerchief represents his latent frustration, or his unwillingness to do as Beatrice bids. It could also represent his love for Beatrice, battling against his judgement in the name of her love. He does not seek the ire of the woman he loves, but he also feels bound by honor and his own logic -- represented in the blue -- to stay his hand and not fight Claudio. These are also incredibly gendered colors, each setting both characters firmly in their place amongst society. No matter how much Beatrice wishes to take up her own hand against Claudio, she is still restrained. It is up to Benedick, ever misguided, to decide what he must do based on his position not only as a man, but as a soldier.

Conclusion

If these adaptations have taught me anything about Shakespeare productions, it's that subtlety and artistic direction play a large -- if not just as large -- a role as script does in conveying meaning and authenticity. Josie Rourkes production seems widely acclaimed for its heart and wit, nearly ripping the words straight from the script, but adding so much meaning to make even experienced Shakespeare enjoyers feel refreshed. Tate and Tennant were incredible in this play, both showing their sheer acting prowess while keeping their characterizations true to what people love about the play in the first place. The Globe production offered what I have come to expect from their plays, which was a laugh out loud comedy. Familiar performances and period-accurate costuming made this adaptation a wonderful experience to watch.