Review: Swoony "Cyrano" is a must-see
Thursday, December 23, 2021 at 4:30PM by Catherine Springer
There is a whole lot of love behind the new musical film Cyrano, directed by Joe Wright and starring Peter Dinklage. That's quite appropriate for one of literature’s all-time classic love stories. Screenwriter Erica Schmidt, who adapted the screenplay from her own 2019 stage adaptation of the classic Edmond Rostand play, is married in real life to the film's star Dinklage, who also played the title character in the off-Broadway production, while director Joe Wright is married in real life to Haley Bennett, who plays Roxanne, the object of Cyrano’s affection. While all four artists are consummate professionals, there is no doubt that a certain amount of personal affection seeped in during this project, as the end result is a sumptuous, warm and truly heartfelt ode to love, a beautiful work of art made by artisans unafraid to explore their passions.
The setting is seventeenth-century Paris and Roxanne, a beautiful but poor noblewoman, has fallen in love with a man she sees across a crowded theatre. When she finds out that the man is Christian de Neuvillette (Kelvin Harrison, Jr.), a new cadet in the French army battalion stationed in the city, she calls upon her lifelong friend, Cyrano de Bergerac...
Cyrano happens to be the leader of the battalion, and Roxannes asks him to help them meet as she is certain Christian feels the same way. The request presents a real problem for Cyrano who is secretly in love with Roxanne himself. He's never had the courage to confess his feelings for her from fear of being rejection. In the original play and most adaptations this is due to an unusually protruding nose, but in this iteration, there's no prosthetics to interfere with Dinklage's handsome nose and the romantic insecurity is from being a dwarf.
While Cyrano makes up for his perceived shortcomings by being one of the most respected and admired soldiers and poets in the city, when it comes to Roxanne his confidence evaporates. You surely know the timeless story; Christian is very handsome but terrible with words. So Cyrano speaks for him through love letters and Roxane falls further in love. Meanwhile, the arrogant and disgusting Count de Guiche (Ben Mendelsohn) has other plans, as he also is in love with Roxanne.
This classic play is squarely in director Wright’s wheelhouse, an operatic period piece featuring tortured souls and epic backdrops. Wright made his name with luscious period pieces like Pride & Prejudice (2005), Atonement (2007) and Anna Karenina (2012), as well as the historical drama Darkest Hour (2017) and the brazenly chaotic actioner Hanna (2011). Wright excels with telling epic personal stories surrounded by gorgeous artistry and Cyrano continues the trend, and may be his best film yet. Every element comes together, from the absolutely stunning production design by Sarah Greenwood and costume design by Massimo Cantini Parrini, to the lush cinematography by Seamus McGarvey (all of them previously Oscar nominated). Schmidt’s screen adaptation is flawless and transitions seamlessly to screen, but it is in her decision to ambitiously turn this play into a musical where her genius truly lies. The play already felt musical, with internal monologues (read: songs) baked-in as part of the story.
While some are weaker than others, the songs more than achieve their intended goal of expanding the story and enriching the audience’s journey. All the songs and music were written by Aaron and Bryce Dessner, members of the indie rock band The National, who have been quickly establishing themselves as preeminent film composers, following in the footsteps of other noted rock stars who successfully transitioned to film composition such as Danny Elfman, Trent Reznor, Jonny Greenwood and Sparks. Cyrano is just one of three film scores the Dessnner brothers have composed this year, following Jockey and C’mon C’mon, but Cyrano is truly the jewel in their crown to date. The two anchor songs in Cyrano, “Someone to Say” and “Madly” are beautifully melodic and work well with each differently-textured reprise. “I Need More” is a terrific spotlight song for Bennett. The best song in the film is reserved for nameless members of the ensemble, as “Wherever I Fall” starts out incredibly slowly but builds to a crescendo that perfectly captures the emotion of the moment.
It is in this juxtaposition of performance and song where Cyrano encounters its only difficulties. While Peter Dinklage is a phenomenal actor, his vulnerabilities as a full-fledged singer are on display, which makes for some awkward moments where he is forced to sing-speak to get through a difficult measure. But Dinklage finds every nuance in the beautiful language, revealing and concealing his character’s emotions with delicacy and heartbreaking truth. Bennett’s radiant, girlish glow serves as a perfect counterbalance to Dinklage’s natural reticence and they have a chemistry that truly pops.
Sadly, the same cannot be said for Harrison, an actor who has excelled in every film prior to this one but who feels wholly miscast. While serviceable as a singer, his Christian never finds sure footing, and he is so overmatched by Dinklage’s textured performance that he is left nearly invisible. As for Mendelsohn, Wright allows him to chew way too much scenery as the villainous Count. As enjoyable as this may be to watch, the performance sours a bit, especially when his one featured song, “What I Deserve,” which is literally about rape, plays like too much of a left turn.
While two of the performances might disappoint, the whole of Cyrano is truly a magical experience. There are beautiful sequences that flow with a rhythmic elegance, allowing Wright’s flair for visual splendor to soar. Choreographed dances erupt out of nothing, and are beautiful and poetic. Colors are vibrant and every shot is crafted as if a painting on a wall. As a result Cyrano is always warm and inviting, eager to melt even the coldest hearts. It is in the delicate dance between Schmidt’s words, Dinkage’s performance and Wright’s direction where Cyrano strikes the most perfect notes. Cyrano is truly a feast for the senses, a full banquet of language, passion, artistry and acting. This is the way to make literature come alive, and we are all the better for it.
Cyrano, which already played its Oscar qualifying week, opens in January 2022.
Reader Comments (7)
Nice write-up, but agree to almost totally disagree, especially with regard to the performances and the music. The disappointment of the year for me.
I liked Harrison's performance more than you did, and he's certainly a better singer than Dinklage. Dinklage's performance is excellent when he's not singing, and the movie looks gorgeous. But the music? Almost entirely bland and forgettable; "Wherever I Fall" is the lone exception. Cyrano's lyrics aren't clever enough for someone who's supposed to be a gifted wordsmith. Talented cast, beautiful production, but the drabness of the songs -- even calling them "songs" seems unduly generous -- sinks the whole thing.
“may be his best film” re: Wright is a statement.
@ Rebecca
Definitely one of his worst for me. Doesn't approach Pride and Prejudice, Atonement, Hanna or Anna Karenina.
Thank you - I thought that was a stretch, willing to see it based on Wright’s filmography and the blinding charisma of Peter Dinklage. Seriously, watch him in an interview and there’s no question why he’s a star.
I am so ready for a sun-drenched outdoors that looks great (Sarah Greenwood, I love you) with fabulous costumes and actors I like.
I’ve already seen too many of the Oscar forerunners “crowd pleasers” that have lead actor characters that I find insufferable.
So I am completely ready to align myself with every emotion, nuance, and thought of Peter Dinklage, an actor and a character truly worth spending time with.
I thought Cyrano had a long nose. Peter Dinklage's Cyrano doesn't appear to have a long nose.