Based on the late 19th century play Cyrano de Bergerac by Edmond Rostand, Joe Wright’s beautifully staged 21st-century cinematic version is to absolutely die for. Led by Peter Dinklage in the titular role, this version may come without the nose but has tons of heart.
In the 225-year history of the romantic play, there have been many film versions. From the two-minute-long Benoît-Constant Coquelin film exhibited in Paris just three years after the text was written, through to the live TV version with James Mason in 1938, the Christopher Plummer-led film in the ’60s, and to Jean-Paul Rappeneau’s French production with Gérard Depardieu in 1990 – we’ve not been short on them. The most recent outing is perhaps its most famous; made for modern audiences in a contemporary tale set in modern-day America in Steve Martin’s ‘loose’ adaptation, Roxanne – but that was 35 years ago.
Joe Wright and screenwriter Erica Schmidt’s effort goes for a different approach again; a movie musical based on a 2018 stage production – also scripted and conceived by Schmidt. Cyrano (Dinklage) is in love. He has fallen for Roxanne (Hayley Bennett) having known her for many years. His physical appearance and social stature stand in his way of telling her exactly how he feels. There’s also the fact that she is also being pursued by the powerful De Guiche (a superb Ben Mendelsohn), but it seems that Roxanne has fallen for another – the handsome guard in waiting, Christian de Neuvillette (Kelvin Harrison Jr) – a love-at-first-sight moment early on in the story.
Through Cyrano, Roxanne asks Christian to write to her, though it is clear from the outset that the young guard’s gifts don’t stretch as far as writing beautiful sonnets for his newfound love. Stepping in, Cyrano reluctantly agrees to write for him and a series of love letters are written to Roxanne, the young maiden falling more and more for the young guardsman.
Littered with wonderfully original songs that steer well away from pantomime and fantasy, it’s clear that the new approach is its biggest asset – the film’s three main actors delivering each one beautifully. Mendelsohn does well, deliciously well, as the villain of the piece, eating up every scene he’s in. Add in a backdrop of stunning practical sets, beautiful costumes, and excellent choreography throughout, and you have a film quite literally offering it all – and delivering the goods. Drop in some breathtaking cinematography from Seamus McGarvey and solid direction from Wright and you have a reported $30 million budgeted production looking like it cost much, much more.
But it is the trio of actors and the stunning musical performances which make the film memorable. A sequence late-on when soldiers on the front line are writing letters home to their beloved is a particular stand-out, and one that is largely performed by the supporting players.
A delightful new adaptation of a very known work is also a refreshing take on the movie musical, one that will linger in the memory long after the credits roll.
Cyrano is now on general release.
Cyrano
Summary
A beautiful staging of a classic tale with a trio of excellent central performances worth the price of admission alone. No matter how well you know the story, it won’t stop those tears from falling when you eventually arrive at the finale.
