“Cyrano,” Reviewed: A Musical Adaptation Plagued by Niceness


Joe Wright’s adaptation of the musical “Cyrano” starring Peter Dinklage has a gorgeous production number that fills the screen with dancers in flashy costumes. There is a magnificent decorative set piece full of gorgeous era designs that appear to have been plundered from Versailles’ pre-revolutionary warehouses. However, the film, which will be released on Friday, does not contain as pictorial images as the opening shot of another new film, James Vaughan’s Friends and Strangers. And around Sydney. There is no imaginative composition like Josephine Decker’s “The Sky Is Everywhere” or a clever choreographic moment like Steven Soderbergh’s techno-thriller “Kimi”. Her loft while talking on the phone. In short, Wright’s direction is neither poetic nor lyrical. There is no thrill or wonder in shooting his music scene. Instead, “Cyrano” is a muddy, dull movie that sinks under a huge undigested mass of its own bomb, wasting a great cast and a great concept talent.

The film is based on the stage musical of Erica Schmidt, who is married to Dinklage. She also wrote a script. (Lyrics by former couple Carlin Vessel New Yorker The fiction editor and her husband, National frontman Matt Berninger, and the music by Burninger’s bandmates Aaron and Bryce Dessner. Reflects the real-life aspects of 17th-century writer and military officer de Bergerac in detail in the time of Louis XIV. However, in Rostand’s plays, Cyrano has such a big nose that he is not fatally attractive to Rostand, but in Schmidt’s plays and films, Cyrano is dwarf and therefore desirable. I don’t think so. The change to the story is driven by the conflict with prejudice against dwarfs and the emotional damage that such prejudice causes to small people. This resonating core subject further disappoints the myriad styles of Wright’s failure. Because they are rooted in his notion of the hero.

In the story, middle-aged arrogant Duke de Gish (Ben Mendelsohn) asked to marry, but Roxanne (Haley Bennett), a poor but born orphan who just wants to get married for love. Includes young women. In a theater play where her longtime friend Cyrano creates his own sights, she falls in love with a young recruit in his outfit, Christian Nuvillet (Kelvin Harrison Jr.). She wants to be blessed with her literary wit comparable to her. Their army is on the verge of being sent to war. Poetry lover Roxanne loves letters, but solid Christians are not writers. Cyrano is a volunteer who provides beautiful letters to Christians. Her assignment comes to him easily because he loves her because it is not known to both her Roxanne and Christians. Instead of impersonating a Christian passion, he simply expresses himself.

Hollowing out the movie to make it smaller is a decorative pageant, but a faint depiction of the glorious Cyrano, a character that is more than a decorative rhetoric that the movie leaves little else. The movie’s most powerful and bizarre view of Cyrano begins in the theater when Cyrano innocently insults the leading actor in a poetic torrent. Cyrano challenges him to a duel, physically harasses him from the stage, and then, on the spot, from Valbert (Joshua James), the poet of Ephethe, the Duke’s wingman. But anything that Wright, an enthusiastic literary talent, shows off Cyrano in the scene will be lost in the next sequence of sword battles. First in the theater, then later that night, Cyrano was a subordinate of the ten dukes. In the latter scene, in a superhero-like fantasy dealing with whimsical death, Wright shows a high degree of inspiration for his own choreography. This movie pays far less attention to wit like Cyrano’s rapier than a real rapier.

What is lacking above all is the wacky anger of the Cyrano character. In Rostand’s play, he is not just a brave and respected warrior who is also a poet, and vice versa. He is a man who loves to incite conflict, try to make enemies, and be hated. His courage and romantic dash are inseparable from his anger, which is expressed with a playful sparkle to hide his fever. In Wright’s version, Cyrano’s proud and futile explosion on stage is actually just a little performance of theater criticism, an act of his romantic dedication and sincere principles that are inseparable from his martial arts. This movie turns a poet (a wild illusionist and an insult) into a good stickman. Dinklage, an actor of uncontrollable vitality, gives it all, but he can only get hints of energy cut from Rostan’s play. Rosanne showed decisive boldness in opposition to the Duke’s marriage to Christians, and when she managed to visit them on the battlefield after Christians and Cyrano were sent to the battlefield, Rostan’s Shows a more brave and dashing side of the play. But in the movie she is deprived of her boldness. Elsewhere, Wright’s stunning variety of castings leads to strange and disturbing dynamics. Christians are black and the words make him fail. Cyrano even calls him “indistinct.”

The film also removes most of the historical details that connect the character to his real time and location near the center of French power. (I noticed that I was thinking about Roberto Rossellini’s “capture of power of Louis XIV”, which reveals the politics behind the spectacle of French culture.) “Cyrano” deprived of fascinating details of history. “Will be a general historical drama and costume drama. Vaguely waving the director’s hand in the distant past to spotlight the elements of design. Deprived of the richness of the text, the concept and substance of the film shifts to the spectacle. That’s exactly where the artistry of Wright can’t stand.

The magnificent work of “Cyrano” lacks belief and attachment. It does not run the risk of stupidity or exaggeration, nor is it extreme. It remains a dull and rational moderation that puts imagination into effort and replaces ideas with size. To mean a lot of letters, this movie shows that Christians in the street and Roxanne in her room are surrounded by paper scattered in the air. The symmetry that Wright shows in the scenes of swinging dancers and soldiers in training is softened and ambiguous. The special effect of overlaying the three protagonists on one screen is noisy and literal, and the overhead geometric pattern is embarrassing and uncommitted. In the 2021 adaptation of The Woman in the Window, Wright evokes the psychological confusion of the protagonist by unleashing an impressive and disturbing confusing image. He seems to have been inspired by their illogical logic. In “Cyrano”, the passion of the main character is suppressed and the imagination of the movie is also suppressed.



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