INhonolulu Magazine Nov. 1, 2013 #3 | Page 2

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Issue #11 November 1, 2013

This past Spring, Joss Whedon, writer/director of such widely different films as Toy Story (1995), The Avengers (2012), The Cabin in the Woods (2012), Serenity (2005) and the highly underrated (and canceled) TV series it’s based on, Firefly (2002–2003) decided to add Shakespeare to his repertoire.

Much Ado About Nothing is one of Shakespeare’s most popular comedies and tells the story of two extremely witty—but equally hard-headed—people and the peculiar chain of events that leads them from disdain for each other to love.

Before Whedon decided to give the play a go, it had already been successfully adapted to the screen in 1993 by Kenneth Branagh, who is both an excellent director of Shakespeare-adapted films and the leading actor in them.

It’s also one of my favorite Shakespeare plays, partially because I acted in a high school version of it. One of my favorite characters is Dogberry, the leader of the night watch and the primary clown in the story.

In both the Whedon and Branagh films, Dogberry is played by actors who have a talent for the comedic. Branagh enlists Michael Keaton (Beetlejuice, 1988, Batman, 1989, Jackie Brown, 1997), while Whedon taps Nathan Fillion, who gained acclaim and a large cult following for his portrayal of the lead role, Captain Mal, in both Firefly and Serenity.

Both versions of Much Ado are very well done overall and are worth watching a few times. Seeing Whedon’s version for the first time at the Movie Museum this month, I was struck by how differently Keaton and Fillion portray Dogberry.

If you’re familiar with Beetlejuice and Keaton’s portrayal of the slimy, hilarious, off-the-wall afterlife denizen the film revolves around, you’ll recognize hints of him in

for his portrayal of the lead role, Captain Mal, in both Firefly and Serenity.

Both versions of Much Ado are very well done overall and are worth watching a few times. Seeing Whedon’s version for the first time at the Movie Museum this month, I was struck by how differently Keaton and Fillion portray Dogberry.

Dogberry's best malapropisms:

“Our watch, sir, have indeed comprehended two auspicious persons, and we would have them this morning examined before your worship.”

“His wits are not so blunt as, God help, I would desire they were.”

“O villain! Thou wilt be condemned into everlasting redemption for this."