Cyrano is a romantic musical adaptation of Peter Dinklage. Be with Zomji by reviewing this film.
If you have seen Anacarnina and Pride and Prejudice, you will find that Joe Wright is good at adapting and reconstructing classic stories, and can reasonably have visual impressions of these stories. She now uses the Erica Schmidt screenplay from Edmund Rostand’s play to capture musical versions of the Cyrano de Bergerac. Cyrano is a tragic musical that seeks to define love. It is not just a love story, but a story that seeks to unravel love and explores its dark and light angles. So far, three adaptations of the play have been made, one of which won the Golden Globe and Oscar for Best Actor for Jose Ferrer in 1950. The 1990 edition also won the Golden Globe Award for Best Non-English Language Film, and Gerard Depardieu also won the Best Actor Award.
Among these adaptations, Joe Wright’s version is musically distinct, and Dinklage’s play has been the most beautiful performance among them. With that extraordinary charisma, Peter Dinklage reminds the audience of Tyrion Lannister, and with the experience of Game of Thrones, he manages to speak well of Cyrano. Rostand’s play is an unrealistic and distorted version of the life of Cyrano de Bergerac, who lived in the 17th century, but what is true of Edmond Rostand’s play and the films adapted from it is the love, selfishness, doubt and worthlessness of Cirano de’s.
The following are excerpts from the story of Sirano’s film
Sirano is a multidimensional character with a good talent for eloquence and swordsmanship. Despite winning the dwarf, he wins a duel and takes the pulse of the story. Cirano loves Roxanne but refuses to admit his love for fear of being rejected because of his appearance. Finally, when Christine falls in love with Roxanne, the overly sensitive Cyrano writes love letters to Roxanne on behalf of Christine. In the main play, Sirano is a talented poet and soldier who suffers from an inferiority complex and is ashamed of his large nose, which is very long and unnatural.
Dinklage presents a great revelation of Cyrano’s character, combining the powerful humor we saw in Game of Thrones with a very sad and vocal demeanor.
In this film, the director skillfully replaces Peter Dinklage’s dwarf with Cirano’s big nose in a village play to increase the dramatic and cinematic load of the work and to be able to visualize a more effective adaptation. Because Sirano is the key to the film, and his apparent weakness is what drives the film’s events and provides the impetus for the drama to move, the creators intelligently recognize that a single nose can not produce so many stories and introduce tragic cinematic logic to the new century audience. Have. The film is very similar in storytelling to the village sirano, with escapes to previous adaptations of the 1950s, 1990s and 1987s. In any case, Joe Wright has tried his best to retell the play in a modern way.
Cyrano’s character and Dinklage play the semantic and content burden of the work. Dinklage offers a great revelation of Cyrano’s character, combining the powerful humor we saw in Game of Thrones with a very sad and vocal demeanor to bring Cyrano’s spirit and charm to the highest point. The film does not have a realistic vision and likes to engage the audience in a surreal and dreamy atmosphere. From war scenes to romances and songs, they all look like enjoyable textured murals that can be easily touched and taken to the movie world. The set, costume, make-up, camera movement and filming are designed and arranged as if they were intended to draw the audience into the world of Disney and tell the story of a prince who is enchanted in love by the story of Romeo and Juliet.
This style of form that Joe Wright has chosen to tell his story reveals the nature of love. The front line is a foggy front, and the arrows and fragments do not look like real arrows, and it is as if an ugly fairy is pointing their nature at the heart of a suffering lover. Soldiers dance with swords in their training camps and cannot be captured like in a real battle. Suffering, regret, the pain of loss, and the dreaminess of this deep human feeling have so permeated Cyrano’s structure that the film takes on a high level of influence on the audience’s emotions.
The main problem with Cirano is the story and the story that fades after a powerful turning point.
The main problem with Cirano is the story and the story that fades after a powerful turning point. After Roxan’s fiancé sends Christine and Sirano to the battlefield, the love story suddenly falls apart and everything falls into a coma. After this incident, we no longer see dramatic ups and downs, and we have no role in the romantic triangle drawings arranged by the creators. From the third act of the film onwards, he likes to show that he will untie and finish sooner.
Christine’s death is a clear example of a hasty solution. He commits a romantic suicide, but his death is not dramatic at all and occurs without a cinematic cause. After seeing all the reactions from Sirano, why hadn’t Christine noticed his love for Roxanne? Why did he not have the slightest doubt about it? The audience here would like to have a background of Christine’s ideas so that she can digest this Platonic death more accurately and better.
Although the film falls into its final episode and the audience is faced with a hasty and non-surprising ending, Peter Dinklage shows the peak of his acting charisma in these discouraging scenes. On the dream front, Joe Wright explores the dimensions of Cyrano’s character and moves a character full of love, eloquence, epic and pain into the film. Dinklage visualizes the content of Cyrano’s character with a deep understanding and immerses himself in the character so much that the viewer does not notice some of the weaknesses of the characterization. The existential and distinctive humor of Dinklage’s character in Sirano’s film opens up dimensions of influential humor and, as a catalyst, allows the film’s content to show itself and give the audience an easier way to understand what they see.
The film’s origin is in the theater, and Joe Wright likes to develop his film form in the same way as a screenplay from a classic village play. With this style, he was able to demonstrate the desired concept of love. Wright believes in the spirit of love and sees it as independent of the body, as Roxanne falls in love with Cyrano’s passionate letters, and when he speaks to Christine and realizes that he can not speak like letters, that seductive and attractive appearance to him. The color loses. In this film, love defines itself and enters into the effect from three aspects, from Duke, who sends Cyrano and Christine to war for revenge, to Christine and Cyrano, who sacrifice for love. The director promotes the appearance and the inside of love, and finally purifies the inner feeling of this deep human being and immortalizes it in his work.
The film’s origin is in the theater, and Joe Wright likes to develop his film form like a screenplay from a classic village play.
Musical works usually have a conflict between drama, music and performance songs. Sometimes the drama is based on music, and at other times the song of the work goes beyond its limits and confronts the audience with a work without a story. But in Cirano, this does not happen, and the music and song are completely at the service of the drama, and they do their job well, which is to advance the emotions of the characters and the story. For example, when Roxanne stands on the porch of his house talking to Cyrano and Christine, the sequence is combined with songs, and these songs know exactly how to get to know the characters better and tell the story.
Although Cirano does a good job of being a musical, it can’t stand out from the crowd because it has its own set of problems in its story, and on the other hand, a strong competitor like West Side Story does not allow another musical to shine these days.