"You must not, sir, mistake my niece. There is a kind of merry war betwixt Signor Benedick and her; they never meet but there's a skirmish of wit between them." — Leonato, Much Ado About Nothing
A forerunner to the Romantic Comedy genre by William Shakespeare, the plot of Much Ado About Nothing centers on two couples: Hero and Claudio, whom the villain Don John spends the play trying to drive apart, and Beatrice and Benedick, whom most of the other characters spend the play trying to bring together.Like all of Shakespeare's plays, it is much-adapted. Some of those adaptations include:
Also in 2011, on vacation from filming The Avengers, Joss Whedon shot a shoestring-budget adaptation of his own in his house, which premiered at the 2012 Toronto International Film Festival and was released in June of 2013 to much critical praise.
Bride and Switch: Inverted. Claudio has been led to believe that Hero has died of grief over his accusations of sluttery, and to atone he has promised to marry her cousin sight unseen. But it turns out that it really is Hero.
Captain Obvious: Benedick helpfully tells us that Claudio rejecting Hero and calling her a slut "looks not like a nuptial". In his defense, he has just that second walked in on it.
Card-Carrying Villain: Don John even admits by way of his dialogue that he's the villain of the play, because that's the role in which he has been cast.
Don John: "It must not be denied but I am a plain-dealing villain. If I had my mouth, I would bite; if I had my liberty, I would do my liking: in the meantime let me be that I am and seek not to alter me."
Cool Big Sis: Beatrice to Hero, though they're actually cousins.
Constable Dogberry: Marry, sir, they have committed false report; moreover, they have spoken untruths; secondarily, they are slanders; sixth and lastly, they have belied a lady; thirdly, they have verified unjust things; and, to conclude, they are lying knaves.
Made better when Don Pedro hilariously responds in kind:
Don Pedro: First, I ask you what they’ve done; thirdly, I ask you what offense they’re charged with; sixth and lastly, I ask you why they’ve been committed here; and, in conclusion, I ask what they’re accused of.
Dogberry: "Marry, sir, they have committed false report; moreover, they have spoken untruths; secondarily, they are slanders; sixth and lastly, they have belied a lady; thirdly, they have verified unjust things; and, to conclude, they are lying knaves."
Double Entendre: Even in the title, which is possibly a sextuple entendre. As noted under Get Thee to a Nunnery, "nothing" was Elizabethan slang for the female genitalia, and noting (a homophone with nothing in the Elizabethan period) was Elizabethan slang for sex. Noting was also used to refer to singing (especially sight-reading). Shakespeare also used noting as a synonym for noticing in multiple passages (1.1.131-132 and 4.1.154-157), and the meaning of a note as a written message is referred to at various points in the play as well.
The Dragon: Borachio, whose antics with Hero's lady-in-waiting give credence to Don John's claims of Hero's infidelity.
Expy: Friar Francis is Friar Laurence all over again. He's the one who suggests that a girl faking her own death will make everything better (although his Zany Scheme fares better than that of his counterpart).
Foreshadowing: Benedick and Beatrice both have lines that indicate their affections for each other well before the Zany Scheme: Benedick says that Beatrice "exceeds [Hero] as much in beauty as the first of May doth the last of December," and Beatrice confides to someone she thinks is a stranger (actually Benedick in disguise) that she wishes Benedick had "boarded" her.
For the Evulz: Don John is pretty one-dimensional for a Shakespeare villain. Biding his time to re-consolidate his power would probably have been a better move than petty vindictiveness.
Geeky Turn-On: It's all but outright stated that Benedick and Beatrice fell so hard for each other at least partly because they're the only people who can keep up with their verbal fencing matches.
Get Thee to a Nunnery: The title itself has an obsoleted Double Entendre, "nothing" being a sixteenth-century euphemism for "lady parts". And "noting" being a sixteenth-century euphemism for "doing the deed". So it's "much ado about noting" as well...
Heroic BSOD: All over the place after the slandering ("Hath no man's dagger here a point for me?")
Hidden Depths: Dogberry and his troop, again. A reluctant watch they may be, but they have little hesitation in arresting Borachio and Conrade. Dogberry may be an idiot, but once he knows something is going on, he is dogged, when it comes to finding out what.
I Gave My Word: Benedick wrestles with his repeated declaration that he would never marry and whether he should be bound by them. (No, he concludes.)
I Kiss Your Hand: Benedick, to Beatrice. Possibly the saddest use of this trope ever in a comedy! After they admit their attraction to one another, Beatrice tells Benedick that she can't be with him until he's sought justice for Hero's insult, on Beatrice's behalf. Benedick kisses her hand, sadly and solemnly, to seal his word.
Important Haircut: After they convince Benedick that Beatrice is in love with him, Don Pedro and Claudio run into Benedick and notice that he has shaved. They start teasing him about his sudden clean-shaven appearance, seeing this as proof that their ploy to get him to fall for Beatrice has worked. Not used in many productions, but used to great effect in the Joss Whedon film version.
I Need to Go Iron My Dog: Benedick trying to escape a conversation with Beatrice, by means of a series of insane quests. Later in the same scene, and even more obvious, Leonato sends Beatrice to "look to those things I told you of" to get her out of an awkward conversation with Don Pedro.
Mood Whiplash: Goes from zany romantic comedy to drama in a matter of seconds when Claudio jilts Hero at the altar, and then bounces about from sweet romance (Beatrice and Benedick) to comedy (Dogberry's interrogations) to tragedy (Claudio mourning what he thinks is Hero's death) until everything is finally resolved.
Only Sane Man: Beatrice and Benedick are the only ones who don't believe the incredibly flimsy accusations against Hero. This is ironic in Benedick's case, at the beginning of the play he was a self-professed He-Man Woman Hater. Also, Friar Francis only appears briefly, but when he's on stage he's the most reasonable person there.
Playing Cyrano: Not only does the Prince provide the words for Claudio to woo Hero, the Prince actually does the wooing—pretending to be Claudio while talking to Hero at a masquerade. Naturally, the villainous Don John convinces Claudio that the Prince has actually fallen in love with, and become engaged to, Hero. Unusually, this plot twist lasts only one scene, until the next time Claudio sees the Prince—and the Prince assures him that he did, indeed, woo Hero on Claudio's behalf. (In fact, since the Prince gives this reassurance in Hero's presence, it's likely that she knew all along that (a) she was really talking to the Prince, and (b) he was pretending to be Claudio as a favor.)
Plot Hole: It's mentioned in Act I that Antonio has a son, yet in 5.1, Leonato speaks of Antonio's daughter as the latter's only child and heir in a crucial plot point. It's debated whether it's a legit mistake by Shakespeare or an intended mistake for Leonato.
Police Are Useless: Interestingly played. Dogberry and his crew are useless, but purely by accident they manage to save the day.
Pun-Based Title: Believe it or not, among the many possible meanings of the word "nothing" in Shakespeare's day, the word was sometimes a reference to female genitalia. Making this seemingly harmless title possibly an, erm, quite colorful one, to say the least. "Nothing/Noting" can also refer to music (songs play a decently large part, and the play ends by striking up the pipers), eavesdropping (the heart of both the matchmaking plot and the evil plot), actual physical notes (the play opens with a letter, and right at the end Benedick and Beatrice are shown their own love letters to stop their playful bickering), and noticing or understanding (which the Friar, Benedick, and Beatrice are good at, thank God). It is also important to note that, according to the script, the audience never sees the pivot point in the play: the observation of Borachio and Margaret (dressed as Hero) that leads to the accusations of adultery. It happens right in the middle and everything else grows from it, but it is not actually shown. So the play literally revolves around nothing. Basically, the title contains a Hurricane of Puns in one word.
"The Reason You Suck" Speech: Claudio and Don Pedro get a ton of these, not without reason. First Beatrice calls them out in absentia, then Benedick calls Claudio out in person, then Leonato and Antonio call them out, then they call them out again when the truth of the matter is revealed.
Shipper on Deck: Don Pedro thinks Benedick and Beatrice would make a great couple, and sets out to make it happen. Most of the characters, in fact, ship both Claudio/Hero and Benedick/Beatrice.
Spirited Young Lady: An early example: Beatrice is independent, intelligent and has quite the rapier wit.
Taking the Veil: It is suggested that Hero can do this, to escape the slander.
Tempting Fate: Near the climax, Don Pedro defends his and Claudio's actions at the first wedding by insisting their accusations were "full of proof". Cue the guards bring Borachio to them and confessing what really happened.
The Trickster: One can certainly interpret Borachio this way. Notice he's the one who comes up with all the evil ideas, yet he's willing to be second fiddle to Don John, and is quick to claim he's only acting on his orders. However, he's also quick to clear Margaret of blame when his and Don John's plan is discovered.
Volleying Insults: It's implied that this is the favored mode of communication for Beatrice and Benedick. Leonato mentions their "skirmish of wit" from the beginning. They each get quite a few zingers in there, too.
Beatrice: Scratching could not make it worse, an 'twere such a face as yours were.
Don Pedro and Claudio were the ones doing it, but under false information. Then immediately after they are told that Hero has died and don't really care. It's their turn to get called out on for this, by both Hero's father and Benedick.
You Meddling Kids: "What your wisdoms could not discover, these shallow fools have brought to light."
Zany Scheme: The plan to convince Beatrice and Benedick that they're in love certainly qualifies; arguably, having Don Pedro court Hero for Claudio does as well.
And faking Hero's death, just because... just because.
Green-Eyed Monster: Other than envy towards his half-brother Don Pedro and towards Claudio being in Don Pedro's favor, it seems that Don John may had or have an interest in Hero, Claudio's love interest, possibly adding another reason for Don John's attempts to break apart Claudio and Hero.
Happy Dance: In celebration of Beatrice's supposed "love" for him, Benedick splashes around in the pond.
Insult Backfire: Dogberry is called an ass by one of the conspirators. He seems very pleased and flattered to be addressed so.
The Oner: The tracking shot at the end of the film doesn't add anything to the plot, but it sure is festive. Lasting a good 2 and a half minutes, the camera zooms between all of the principal characters as they sing and dance, finally ending on an aerial shot of the entire villa.
Race Lift: Denzel Washington is cast as the prince. The blatant anachronism is ignored by all and justified by nothing—other than perhaps the Rule of Cool.
To be fair there's also quite a number of the other actors who are clearly of predominantly Celtic or Northern European ancestry, but are playing characters who are (ethnically and culturally) Italian and Spanish.
Armor-Piercing Slap: Benedick delivers one to Claudio, challenging him to a duel to defend Hero's honor.
Attending Your Own Funeral: Hero watches the funeral set up to fool Claudio. In his commentary, Whedon explains that this was added as an attempt to make it more palatable that Hero would forgive him, as she gets to see how truly repentant he is for what he did to her.
Call Forward: Boracchio is seen seducing and making out with Margaret in the background of quite a few scenes, which would explain why she agreed to have sex with him in Hero's clothes later. Also, when Don John tells Claudio that Don Pedro is wooing Hero for himself, Claudio immediately believes him and is extremely distraught until Don Pedro sets him straight. This scene establishes exactly how gullible and impetuous Claudio is and makes his later betrayal of Hero more believable.
Deliberately Monochrome: Mostly because shooting in B&W considerably decreases the time required to light and set up a shot, which is useful when you only have 12 days for rehearsals and principal photography.
At least one critic commented that shooting in black and white gave the movie the feel of such classic relationship comedies as His Girl Friday and Adam's Rib, which suited the performances of Alexis Denisoff and Amy Acker who demonstrated a Tracy/Hepburn level of on-screen chemistry.
Dream Team: The cast is clearly something of a real life example for Joss Whedon. Almost all of the principal cast are stars from other productions of his.
Flashback: The text implies a past love between Benedick and Beatrice (Beatrice says, "Marry, once before he won [my heart] of me with false dice"). Flashback scenes show that she and Benedick once slept together, only for things to fall apart. This helps explain why they constantly engage in a "skirmish of wit" whenever they meet, while proclaiming their intentions never to be married. It also makes their inevitable Love Epiphany more believable.
And one in the foreground a few minutes later as Beatrice eavesdrops about Benedick's love for her.
Also, during the party, Benedick carries on a conversation without noticing that his marshmallow has caught fire.
When filming the scene where Dogberry and Verges hand Borachio and Conrad to Don Pedro, Nathan Fillion and Tom Lenk acted as if they had locked themselves out of their car. This was originally not even on-camera, but when the crew found themselves cracking up at the two, Whedon insisted that it was filmed and added in.
Also, at the second wedding, Claudio says he will marry the disguised Hero "were she an Ethiope". A black woman is standing behind him looking unamused as he says this line, and behind her Benedick screws up his face in embarrassment after Claudio says it.
Gender Flip: Both Conrade and the Sexton are women in this version. In the former's case, Whedon states outright on the commentary that it was purely so he could make Don John's initial conversation with Conrade more interesting by having them discussing their Evil Plan in the middle of sex.
Glasses Pull: Dogberry and Verges are constantly putting on sunglasses under the mistaken belief that it makes them look cool.
Handshake Substitute: When they have proof that Benedick's finally realized his feelings for Beatrice (they see him gazing lovingly at her photo) Don Pedro and Claudio fist-bump each other.
Hard-Drinking Party Girl: It seems like everyone is slightly drunk for the whole movie. This could cross over into Truth in Television; Joss Whedon and several of the cast members have all implied that every time you see a character with a drink in their hand, the liquid in the glass isn't exactly water, if you know what we mean.
Highly-Visible Ninja: Benedick dresses as one at the masquerade ball, which was chosen because Denisof had already shaved for the film's second half. It also may serve as Foreshadowing for his attempts to eavesdrop on the Zany Scheme.
I Need a Freaking Drink: When Claudio and Hero are about to get married, Benedick sees that Claudio is angry and tries to subtly pacify him. When it becomes apparent that that isn't happening, Benedick heads straight to the bar for a drink. Whedon explains on the commentary that this was to justify his not speaking up as the argument gets nastier.
Kick the Dog: After Don John ruins Hero at the wedding, he hangs back to steal the cupcakes meant for the reception.
Separated-at-Birth Casting: As noted in Joss Whedon's commentary, Amy Acker(Beatrice) and Jillian Morgese(Hero) do look like they could be cousins.
Setting Update: Moved to the modern day, with the implication (by costuming) that the soldiers are spies (or, as at least one reviewer suggested, that the war the men are returning from is a corporate war or even a mafia war). This allows for clever use of a smart phone as a way to relay action, but also serves to highlight the nasty sexual politics of the original play. This being Joss Whedon, one could suspect that was partly the point.
Actually, it seems like a mafia war would be the most likely out of the three settings proposed above. Legitimate corporate executives don't generally haul around their defeated opposite number in handcuffs or carry firearms in their suitcases, and spies or federal agents wouldn't bring arrested convicts into their homes or let high-profile photographers take pictures of them. The mafia theory can also be supported by the film noir-ish black and white and the characters' Italian names, although some might see that as an unfortunate implication.
Clark Gregg once stated outright that it was a mafia war in an interview that also included Joss Whedon, and Whedon said nothing to contradict it. Make of that what you will.
Sexposition: As described above, Don John's "plain-dealing villain" speech is turned into this.
Spit Take: Hero does one when Don Pedro suggests that Benedick and Beatrice would make a good match.
Tropes from the Berlioz operatic adaptation:
Adaptational Heroism: Claudio does not make the rash and unfair decision to shame Hero on flimsy evidence in this version; the wedding goes as planned.
Beta Couple: In this version, it is unambiguously Claudio and Hero, to Benedick and Beatrice's "Alpha couple".
Compressed Adaptation: This adaptation is focused only on the development of Benedick and Beatrice's relationship.
Lighter and Softer: The dark and dramatic subplot involving the slander of Hero is omitted.
Adaptation Expansion: John's motivations are more nuanced than the original's For the Evulz: he spent his whole life jealous of Pedro's success, feeling like he was stuck in the background of his brother's life, and the scheme was meant to have Cora quickly exonerate Hero, making Pedro look bad. He actually deeply regrets that Hero was the one who was hurt the most.
They also include a silent scene between John and Hero where it's implied that he apologizes to her.
Also includes a scene where John returns and, much to his shock, Pedro embraces him, relieved he's come back.
Meaningful Name: Hero's name is given the In-Universe explanation that she survived a life-threatening lung condition as a child, resulting in her name.
Poor Communication Kills: To get around the fact that Benedick and Beatrice could easily find out what's going on by watching the others' vlogs, both of them get fed up with the other's videos and declare they're never watching the channel again. The rest of the crew even hide the announcement of the Zany Scheme by starting it with footage that'll drive them away.
Not to mention the whole plot is based on the miscommunication between Claudio and Hero.
Pragmatic Adaptation: Given the high school setting, there's no wedding in sight and Claudio simply accuses Hero at her 16th birthday party.
The plan to pretend Hero is dead would also be awkward given the setting, so instead there isn't any deliberate plan; Verges randomly blurts it out and in her typical fashion manages to convince herself it's true, and the rumor blows up from there. The rumor is helped by the fact that Beatrice says that Hero is very sick and in the hospital.
There Are No Adults: Beatrice's parents have moved causing her to move in with her cousins just as their parents left on an extended honeymoon, meaning the three of them are living alone with no adults for months.