Cyrano

Beautifully filmed period piece and retelling of the classic play with some changes. Dinkledge gives a heart-wrenching performance as Cyrano (obviously his stature is substituted for the big nose), supported by a mostly decent cast. Lots of reviews here bemoan the musical aspect of the film and I will agree I didn't expect it to be one. However, I thought the music and lyrics were fantastic, with such raw emotion pouring out (I dare anyone not to get a lump in their throat at the soldiers singing their farewell letters song). I give this film a 8/10 for its music, risk taking and emotional gravitas.

Greetings again from the darkness. Filmmaker Joe Wright has proven how adeptly he can re-make a classic love story. You'll likely agree if you've seen his versions of ANNA KARENINA (2012) and/or PRIDE AND PREJUDICE (2005), which are in addition to his best film (also a love story), ATONEMENT (2007). Working from the terrific script Erica Schmidt adapted from Edmond Rostand's 1897 play, Wright delivers a musical version of Cyrano de Bergerac that delivers all of the intended "panache" of the original tragic-romance.

Peter Dinklage (THE STATION AGENT, 2003) stars as Cyrano, a master swordsman and orator who entertains with words that cut like a surgeon's scalpel ... except when he's weaponizing those words for love. Haley Bennett (SWALLOW, 2019) plays Roxanne, the secret object of Cyrano's desire, though she views him as but a close friend and confidant. Instead, her gaze is upon the newly arrived Christian (Kelvin Harrison Jr), a virile and handsome man lacking the charisma and common sense required to court Roxanne. This dilemma lends itself to the melding of Cyrano's word being delivered by the preferable packaging of Christian.

Rather than Cyrano's oversized nose, the film uses Mr. Dinklage's diminutive stature and feelings of unworthiness of Roxanne's affections to create the division, and yet it's the musical aspect that takes a bit of getting used to. Dinklage excels in the film's best sequence, as early on he humiliates a poor stage actor, a rebellious act that ends in a duel ... entertaining for the play's audience as well as us as viewers. It's the connection between Cyrano and Christian that leaves us missing the good stuff. It all happens quickly and efficiently, rather than a slow transition from foes to partners. The film is at its best when Cyrano's loneliness is at the forefront ... Dinklage excels in these scenes. In fact, Wright and the actors (Dinklage and Bennett) nail the ending which packs the punch Rostand intended.

Mr. Dinklage has long been married to the film's screenwriter Erica Schmidt, and Ms. Bennett and director Wright have a daughter together. These ties may have contributed to the effectiveness of the best scenes, though we do wish Ben Mendolsohn (as De Guiche) had a bit more screen time. The three most well-known film versions are CYRANO DE BERGERAC (1950) starring Jose Ferrer, ROXANNE (1987) starring Steve Martin, and CYRANO DE BERGERAC (1990) starring Gerard Depardieu. Wright's latest version is set apart with the musical aspect, and certainly the Dinklage performance ranks amongst the best. Edmond Rostand's play was a fictionalized version of the life of Savinien de Cyrano de Bergerac (1619-1655), but the romance, ego, and self-doubt applies to all eras.

This is a romance that hits you in the head and heart- not the loins.

So many movie makers today feel the need to include graphic or seductive sex scenes which often diminishes any real romance. The writer, directors, actors, and everyone involved in this production have created something that demonstrates real love- not lust.

This story is about connection and conviction. We don't need to see the characters bumping and grinding to feel the strength of their feelings. Words are so much more powerful and lasting.

Peter Dinklage is amazing as the intelligent and sensitive Cyrano. A man who feels he does not have enough to give but really has so much more than anyone else. Cyrano loves Roxanne deeply and only wants what is best for her so he makes sacrifices for her.

Not many movies can make me tear up anymore but this one did. I saw it on a plane returning from Europe and the flight attendant asked if I was OK because I was crying. I get depressed sometimes when I see all the crap going on in the world- selfishness, inconsideration, greed- things that seem so thoughtless and evil. This film helped renew hope in me that there are still people out there who understand what is important in life.

Cudos to everyone involved in making this movie. Superb acting, beautiful vocals, excellent timing, inspired direction, moving writing, and editing that brought it all together wonderfully.

I will be disappointed if this doesn't win many awards.

Cheers, Amy.

First of all, only cowards dislike this movie. On to the review:

So, Dinklage is not a strong singer. A couple of the people aren't. Mostly basic compositions. There's a historical context most people probably aren't aware of. Pretty damn good duels. Fantastic cinematography. And the basic Cyrano story without much aplomb.

It's actually really weird, for a musical. Which I didn't know it was going in. The thing that makes it work is that everyone gives a heartfelt performance, especially Donklage, who outshines in acting but isn't killing it in the voice department. They know it's simple. They knows it's awkward. There's a song about it being awkward.

But it just does work for me. Especially with 3 of the numbers that are completely fantastic and absolutely land. I imagine they were going for an idiosyncratic movie that reflects the character. They nailed it. Only cowards and snobs couldn't give it the props it deserves.

Seems like the writers had never read the play. Felt like they missed the soul of the source material. Actors were beautifully cast but the dialogue and lyrics felt clunky and misguided. Felt like a love story when it absolutely is a story about failed truth. Joe Wright had done a beautiful job as always but again overall it feels like the point is missed. Still an enjoyable watch but the musical bits felt jarring and out of nowhere. Captured none of the humor and cavalier attitude. De Guiche also came across as very r*pey which felt very odd and uncomfortable since it was not in any other the other adaption.