Fresh and Exciting

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

It's a movie as timely as it is provocative and amazingly, for much of its running time, it is weirdly funny.

Much Ado About Nothing as a play is hugely enjoyable and very charming. And I have to say I really liked this version. Is it as good as the Kenneth Branagh film? Not for me. However, it does deserve to stand on its own, as Branagh's is a film and this was a TV version so they are different mediums. I personally don't think this version is perfect, Branagh's film does do a better job at making us believe that Claudio could be tricked by Don John, and I personally- and I'm putting emphasis on the personally- didn't care all that much for John Meyer's rather cartoonish Don John. However if there are assets I do prefer it is that "your Hero, his Hero, everyman's Hero", which has always brought a lump to my throat, is not cut and the performance of Dogberry, Barnard Hughes is funnier and much more subtle, and he is just terrific in general. This Much Ado About Nothing does look great, the scenery and costumes are sumptuous and it is beautifully shot as well. The music is pleasant and lilting, though I can imagine it being even more vivid live. There are some effective scenes, the love/hate sparring between Beatrice and Benedick is very funny in its wit and the scene where Benedick and Beatrice are tricked into thinking one loves the other is lovely to watch and the visual humour with Benedick drawing closer is inspired. Generally, the performances are fine. Along with Hughes, the best of the cast were Sam Waterson as a handsome and aristocratic Benedick and Kathleen Widdowes as an intelligent and witty Beatrice. Their chemistry is really wonderful. Douglas Watson is also a noble Don Pedro, Mark Hammer is likable as the father figure Leonato and April Shawnham's Hero is lovely. Some may find her bland, but in a way Hero is a bland character in comparison to Beatrice, Benedick and Pedro. Likewise with Claudio, who is also competently performed without standing out in the same way. All in all, I liked the 1973 version very much but I didn't love it. 8/10 Bethany Cox

I've seen quite a few productions of Much Ado, both on film/TV and on stage and I must say this Joseph Papp production with Sam Waterston and Kathleen Widdoes is my absolute favorite. The time period is perfect. And they really used the period and the setting extremely well. Using the Spanish American war as inspiration was...inspiring. Beatrice is both strong and feminine. I think my favorite part is when Beatrice is eavesdropping in the conservatory and the sprinklers come on. While shot on a set, you can still see the roots this production had as a stage play. But that isn't lost when it's brought to the screen. The setting allows for more flexibility in shooting angles and close-ups, but you still get a sense of the intimacy of a stage production. I say "bully!" Two thumbs up.

I was fortunate to see this production of the NY Shakespeare Festival when it transferred to Broadway (and I was in high school), and it was a glorious treat. Waterston and Widdoes were wonderful as the sparring lovers battling one another with words. Barnard Hughes was terrific as Dogberry, recreating a Keystone Cops routine. The setting of the Spanish American War era was a very fine transfer, and the first Shakespeare production I had seen that didn't use the Elizabethan period. I had lots of wonderful memories of this production, and even managed to catch it when it was broadcast on television in 1973.Several years ago, I found a copy of this and rented it, and it didn't live up to my memories of the stage production. It is a filmed play, not re-conceived and produced as cinema, and has all of the flaws that filmed plays have: sets that can magically evoke a time and place on the stage, but seem flimsy on film; stage acting that works when you see it in a theatre, but seems overdone on film; a small ensemble playing entre'acte music that charms when heard live, but seems small and tinny on film. Much of the performances that I remembered with affection, particularly those of Waterston and Widdoes, were still very fine, and Hughes is still my favorite Dogberry.It doesn't hold up well when compared to the Branagh Much Ado, which was definitely conceived in cinematic terms (like the galloping troops at the opening evoking The Magnificent Seven), and which was much better at conveying how Claudio could be duped into believing that Hero was a wanton woman and not the virgin he had wooed. But Branagh cut my second favorite line from his Much Ado ("your Hero, his Hero, everyman's Hero").This version of Much Ado is charming for what it is: a filmed play, with talented performers, in a lovely production. But it is not great cinema.

MUCH ADO ABOUT NOTHING is considered by Shakespearean Scholars to be one of three plays call the "Joyous Comedies". The other two are AS YOU LIKE IT and TWELFTH NIGHT, and the subject of them is either joy of living or love. They are considered a high point in Shakespeare's development as an artist on par with his dramatic height in his tragedies of the same period (HAMLET, MACBETH, OTHELLO, KING LEAR). And yet, while college courses spend time teaching TWELFTH NIGHT and MUCH ADO and AS YOU LIKE IT to the public, most people who like theater think that Shakespeare's best comedy was the earlier A MIDSUMMER'S NIGHT'S DREAM. TWELFTH NIGHT is revived more frequently than the other two joyous comedies, but A COMEDY OF ERRORS or THE TAMING OF THE SHREW (politically incorrect as the latter is now) are more popular.The problem with MUCH ADO is that it's great wit is hidden by the style of Shakespeare's writing. He was always mixing styles of humor, from low types like Bottom to the height of witty conceits. The early Shakespeare, like his contemporaries, was impressed by John Lily's EUPHUES, an early comedy of puns and word plays. Shakespeare, of course, could knock this off quickly - but the problem of dealing with this is that (except for those lines based on sexual punning) most of his references are so obscure that one needs some type of guide to explain them. This is particularly the case when dealing with Beatrice and Benedict and their wit duels. Most audiences these days can't follow them too well. So the presentation of the amusement has to beef up that portion.This particular production was produced by Joseph Papp in 1973, and I was lucky enough to see it when my college offered it as a free trip to the city. As I had a Shakespeare course at the time, it fit in well.The cast was made up of New York theater and television figures. Today, the actor playing Benedict (Sam Waterston) is the best known (as is F. Murray Abraham, here in a minor part), because Waterston is A.D.A. McCoy on LAW AND ORDER, and Abraham is an Oscar winner and a star of Broadway productions (ironically in another Shakespeare "comedy" right now: THE MERCHANT OF VENICE). But in 1973 the soap opera performers Douglass Watson and Kathleen Widdowes (as Don Pedro and Beatrice) were better known to local audiences, and Bernard Hughes (as Constable Dogberry) was developing a prominence in television and the movies (his best known film role was as the deadly avenging patient in Patty Chayevski's THE HOSPITAL (1971)). The production made sure that the story (originally in an Italian principality in the Rennaisance) was reset in the U.S. during the aftermath of the Spanish American War.The production had it's rewards. Little bits of business stick to the mind - like Widdowes and her girlfriends stealing puffs from a regular tobacco cigarette in 1900 (something unheard of among good young ladies - but Beatrice, after all, is somewhat daring. Waterston, going canoing and paddling backward (the canoe was on a turntable on stage), getting out, and then hiding behind the upright canoe, as though it is leaning against a tree (and it is not fooling the other actors on stage). But best in the production was Hughes as the impossibly dense policeman, who has a "Keystone Kop" force to assist him in seeking out the criminals. Up to his last line, when he announces he has captured the ringleader and has put his hands in a pair of MONACLES (not manacles) Hughes acted like he was Ford Sterling returned to life. Note should also be taken of the late Jerry Mayer as the bad natured Don Juan, who when thwarted in one evil plot at the start gave one of the funniest hissy fits on record.Most of these items were in the film version as they were on the stage. The production was a good one, though nothing remarkable. I would recommend seeing the video of the production, to enable one to see a good cast at work in an interesting concept for the production. But if one wants to understand the verbal jousting of the two lovers, read the play and follow the glossary of terms that are included.