In the 120 years that have passed since Edmond Rostand presented his play Cyrano de Bergerac to the world, it has become almost as popular as Shakespeare’s most frequently performed plays. Audiences have not only been able to enjoy this romantic-comic tragedy in live theatre productions, but also in movie theatres.
Of course few will remember the lively 1950 film version with José Ferrer in the lead in an Oscar-winning performance. More recently, in the 1990 French film version, Gérard Depardieu won plaudits for his interpretation of the role. English-speaking audiences may perhaps more strongly associate the play with the delightful 1987 movie adaptation, Roxanne, starring Steve Martin and Darryl Hannah, filmed in Nelson, B.C.
Clearly, the play has become a classic, finding audiences in all decades, and open to a variety of interpretations and incarnations. The latest of these is the film Cyrano, adapted from a stage/musical version. More significantly, the title role is brilliantly played by Peter Dinklage. He is, of course, a man of excellent credentials, star of many movies, including the superb The Station Agent, the richly funny Elf, and perhaps best known for his part in Game of Thrones.
In this latest version of Rostand’s play, Cyrano is no longer a man with a huge nose, but instead a man marked by dwarfism. Regardless, Cyrano remains essentially the same: a man desperately in love with the unattainable Roxanne, gifted with the power of poetry, and party to his best friend’s courtship of Roxanne, lending him the words to woo her.
While it is true that much of the magic of the story remains, this adaptation claims to be a musical, though the songs are, with one exception, virtually tuneless and of little help in boosting the sentiments of the participants. The story calls for the soaring drama of a Verdi or Puccini, though, unfortunately, operatic versions of the play are rarely performed. While the music in the film is forgettable, the rather idiotic choreography contributes little to making the grand themes of the story resonate.
By contrast, thanks to the excellent direction of Joe Wright, under whose guidance the actors all perform well, the production is satisfactorily entertaining and frequently quite moving. Dinklage conveys superbly and subtly the wide range of emotions, frustrations, and yearnings of his character.
To add to the enjoyment, the swashbuckling action and tragicomic story are played out against superb sets, made more impressive by sumptuous costuming. After a rather confusing and shaky start, the whole thing commences a steady, satisfying rise to a moving and memorable dramatic climax.
The result may not be exactly what Rostand intended, but it gives audiences an opportunity to experience the wonderful story anew in a film version which has already garnered numerous well-deserved awards. As we can now return to movie theatres with some degree of confidence, Cyrano is a welcome attraction and should get us off our couches and into actual movie houses.
