BRIT FILMS #8 – Accompanying material for media education MUCH A!" ABOUT N"T I#$ USA 2012, 108 min. German certification: minimum age 0 recommended for 16 years and older Language: nglish "it! nglish su#titles $irector %oss &!edon Scri't %oss &!edon, #ased on &illiam S!a(espeare)s t!eatre 'iece of t!e same name *inematogra'!y %ay +unter diting $aniel S. ,aminsky, %oss &!edon -usic %oss &!edon *ast Amy Ac(er, Alexis $enisof, Nat!an 0illion, 0ran ,ran1, %illian -orgese, Sean -a!er, 2eed $iamond, *lark Gregg and ot!ers A%out MUCH A!" ABOUT #"T I#$ A3er a successful #a4le against !is #rot!er $on %o!n, $on 5edro 6isits !is friend Leonato. 7"o o8cers, 9enedic( and *laudio, accompany !im. *laudio falls immediately in lo6e "it! Leonato)s daughter +ero and "ants to marry !er as soon as 'ossi#le; t!is union (indles an old fight #et"een 9enedic( and Leonato)s niece, "!o #a4le it out in "ords. ;e "edding is set to ta(e 'lace in one "ee( and in t!at time $on 5edro, *laudio, Leonato and +ero decide to 'lay cu'id and conspire to #ring 9enedic( and 9eatrice toget!er. -ean"!ile $on %o!n sho"s u' and does !is #est to ruin *laudio and +ero)s "edding 'lans. %oss &!edon)s modern retelling of a S!a(espeare classic is elegantly shot in #lac( and "!ite "it! a fe" c!anges, suc! as t!e gender of one of t!e c!aracters, masks, and intrigues. $espite t!e contem'orary *alifornia se4ing, t!e scri't stays true to t!e original and in t!is "ay o'ens u' an interesting mix of anti<uated 'rose and modern references and innuendos. ;e "orksheets address t!e follo"ing ;e meaning or significance of t!e discre'ancies #et"een S!a(espeare)s t!eatre 'iece and &!edon)s film ada'tation ;e meaning of t!e o'ening scene t!at de'icts t!e 9eatrice and 9enedic()s relationshi' in a different light ;e occasional film staging t!at is reminiscent of t!e t!eatre 'roduction &u%li'hing information 5u#lisher: Aut!or: AG Kino – Gilde deutsc!er Filmkunstt!eater Stefan Stile4o 2an(estra?e 31 stile4oCfilmeDsc!oenerDse!en.de 10A8B Berlin 5!oto credits: Kaleidoscope Home Entertainment EAll t!e stills are from t!e DF$ of MU*H A$G A9GU7 NO7+H/G, pu#lished in Great Britain by Kaleidoscope Home Entertainment. They ser6e as image quotations, to ena#le study of t!e film’s content, and not as illustrations.) 1 Compare t(e t(eatre piece to t(e )lm adaptation *ompare t!e differences #et"een t!e t!eatre 'iece and t!e film: S(a*e'peare +(edon,s adaptation JJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJ Time and location JJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJ The c(aracter', JJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJ .profession'/ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJ Conrade,s role JJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJ $iscuss !o" t!e c!anges to t!e film ada'tation inKuence t!e 'iece. The relation'(ip %et0een Benedic* and Beatrice 9efore t!e main action #egins in -U*+ A$G A9GU7 /G7+HNG, "e see a silent oneDminute scene "it! 9enedic( and 9eatrice. 1 2 @ L 2 *ompare t!is scene "it! t!e film’s main storyline. Hn "!at "ay does t!e main 'lot differ from t!is o'ening sceneM JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ &!at does t!is scene tell us a#out t!e relationshi' #et"een 9eatrice and 9enedic(? &!at is going on in t!is sceneM JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ &!at camera shots are used in 'ictures 2 to L > "!at information a#out t!e emotions or t!oughts of t!e c!aracters is con6eyed in t!is "ayM *amera shot Hnformation con6eyed Hmage 2 Hmage @ Hmage L $escri#e !o" t!is scene sheds light on t!e #e!a6iour of t!e t"o c!aracters in later scenes. JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ $oes t!is scene foreshado" t!e film’s ending? JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ $iscuss t!e extent to "!ic! 9eatrice can #e considered a 6ery modern "oman, and t!us !er c!aracter comes as no surprise in today)s "orld. @ Film and t(eatre Hn a number of scenes &!edon uses image compositions and entrances and exits of c!aracters t!at is reminiscent of a stage 'roduction. Gutline t!e similarities to t!e t!eatre using t!e follo"ing stills. Scene 1: *laudio is mista(en for 9enedic( in $on %o!n)s 'ool. JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ Scene 2 and @: ;e sc!eme is set into motion: 9enedic( and 9eatrice are su''osed to ea6esdro'. JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ Compare t(e t0o )lm 1ersions *ompare %oss &!edon)s interpretation "it! t!e film ada'tation of -U*+ A$G A9GU7 /G7+HNG #y ,ennet! 9ranagh in 1BB@. 7a(e a 'articular loo( at +o" close it stays to t!e original scri't ;e #asic atmosp!ere created in eac! of t!e films ;e function of t!e different locations ;e differing e=ects of &!edon)s #lac( and "!ite aest!etic and t!e so3 Htalian light used #y 9ranagh. $iscuss "!ic! filmic interpretation you 'refer and, in your o'inion, "!ic! film 6ersion is more entertaining. L.