English audiences have long been partial to Romeo and Juliet, but in this critic’s outside-the-box opinion, Edmond Rostand’s “Cyrano de Bergerac” is the more romantic play. For starters, its traged…
English audiences have long been partial to Romeo and Juliet, but in this critic’s outside-the-box opinion, Edmond Rostand’s “de Bergerac” is the more romantic play. For starters, its tragedy hinges not on teenage impatience and suicide, but deep, long-unrequited affection. Convinced that his physical appearance makes him unworthy of his beloved Roxanne, the chivalrous Cyrano dares not express his ardor directly, ultimately taking his secret to the grave.
With its swooping cameras and beyond-dazzling production design, Wright’s style is more alive than ever, giving new meaning to the word “panache.” But even before the helmer came aboard, writer Erica Schmidt had an epiphany: that she might reimagine Cyrano as a dwarf, and that there was no actor more suited than her husband,, to play the title role .
As Cyrano’s trusted friend Le Bret is quick to recognize, this foolish show has all been for the benefit of one person: Roxanne , who attends with the powerful yet off-putting Duke de Guiche , restyled here as the kind of rival we might expect to find in a Disney fairy tale. There’s good reason for this change, which allows Schmidt to better define Roxanne’s character from the outset: “I’m nobody’s pet, no one’s wife, no one’s woman,” she asserts early on.
The plot of “Cyrano de Bergerac” is well-known enough to spare recounting what follows, except to point out that Wright — whom I consider one of the medium’s most visionary craftsman — has outdone himself in devising original, cinematically innovative ways to stage the film.
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