“CYRANO” My rating: B (In theaters)
124 minutes | MPAA rating: PG-13
Like the works of Shakespeare, Rostand’s “Cyrano de Bergerac” is imminently adaptable; stage directors and filmmakers can revel in its timelessness while bending and stretching the material to match the current zeitgeist.
Every generation seems to get its own version of the swashbuckling warrior insecure in love because of his monstrous nose; past Cyranos include Jose Ferrer, Gerard Depardieu and, in a comedic updating, Steve Martin.
The new “Cyrano” from director Joe Wright is the same animal — but different. It stars Peter Dinklage, so memorable as Tyrion Lannister in “Game of Thrones,” and while this Cyrano excels at swordsmanship he is crippled romantically not by his big schnozz but by his diminutive size.
Oh, and did I mention that this is a musical?
Based on a stage production scripted by Dinklage’s spouse, Erica Schmidt, and featuring songs by Aaron Dessner, Bryce Dessner, Matt Berninger and Carin Besser (of the rock band The National), this lavishly mounted movie version takes a bit of getting used to.
In fact, it took a good 45 minutes for me to feel comfortable with its ambitious conceits.
Initially the uber-realistic 18th-century settings (it was filmed in gorgeous Noto, Italy, which apparently hasn’t changed in centuries) and sometimes graphic violence are a weird fit for a pop musical. And then there’s the nontraditional casting (lots of black faces) that may prove jarring for those expecting historical accuracy.
By film’s end, though, audiences will have been sucked in, thanks primarily to Dinklage’s riveting performance, an inspired blend of physical swagger and emotional reticence, tempered by a savage wit coexisting with a poetic soul.
The story remains pretty much the same. Cyrano has long been in love with childhood friend Roxanne (Hayley Bennett), but has never expressed his yearning, certain he would be rejected for his physical peculiarities. When Roxanne falls for his comrade-in-arms Christian (Kevin Harrison Jr.), Cyrano provides the attractive but tongue-tied fellow with romantic poems and sweet nothings (better to woo Roxanne once removed than not at all).
“I will make you eloquent,” our hero advises Christian, “and you will make me handsome.”
Meanwhile our three protagonists must stymie the machinations of the entitled aristocrat De Guiche (Ben Mendelsohn), who not only has eyes for Roxanne but is Cyrano and Christian’s commanding officer.
The essential “Cyrano” story remains as seductive as ever, and the performances are spot on.
Dinklage may have the greatest hangdog eyes in movie history, and he perfectly captures the character’s conflicting emotions (a cocksure cavalier when it comes to battle, a swooning romantic who is fearful of announcing his love). He’s less a singer than a Rex Harrison-styled reciter of lyrics…but it works.
Bennet nicely captures both Roxanne’s beauty and her childlike superficiality, while offering the production’s best singing voice; Harrison walks a fine line between Christian’s sincerity and his, er, intellectual limitations.
As a musical “Cyrano” is a tad half-hearted. There are only a half dozen numbers, and many of them feel more like fragments of songs than full-blown compositions.
At its best the score has a sweeping pop feel that reminds of early Kate Bush with a dash of Andrew Lloyd Webber. The highlight is the late-in-the-show “Heaven Is Wherever I Fall” in which three soldiers (one played by “Once’s” Glen Hansard) prepare for a fatal charge by writing letters to faraway loved ones. The tune’s throat-stopping blend of heroic fatalism, yearning, and lost possibilities is simply drop-dead gorgeous.
There’s relatively little real dancing here; Wright opts mostly for carefully staged crowd and camera movement. An exception is a number unfolding in a fortress where a regiment of sword-wielding soldiers perform a grand waltz (there’s even some break dancing dropped in).
| Robert W. Butler
Butler's Cinema Scene 