Peter Dinklage leads a talented cast in an exhilarating retelling of Edmond Rostand’s original play in the Joe Wright-directed, Cyrano. Heartfelt performances, stunning cinematography, and a fine musical arrangement catapult this production within the margin of a must-see film.
Cyrano (Dinklage) has his physical limitations. But for what he lacks in height, he makes up for in bravery, eloquence, and wit. After Cyrano challenges Montfleury (Mark Benton) on stage, he makes himself the target of an attack, but his intelligence and deft swordplay are on full display for the full audience, including his target audience of one, Roxanne (Haley Bennett). Knowing her for many years has only made Cyrano fall deeper in love with her. Learning that she has a confession to make to him, he can only hope that her wishes are the same. For a moment, his heart elates as she confides in him that she is in love, but it is to his chagrin when he discovers that it is someone else. The object of her affection his Christian (Kelvin Harrison Jr.), and he is a new member of the Guard. When Roxanne asks the experienced Cyrano to look out for him, he accepts out of love for her. Christian has the looks, but he is unable to win Roxanne over with his words. It is only by Cyrano’s prose that Christian continues to keep Roxanne’s interest. And as the duty to serve their country calls to the two men who love the same woman, it is she who must eventually decide who holds the key to her heart.
There are not many dull moments in this adaptation of Cyrano, written for the screen by Erica Schmidt. One could split a few hairs by mentioning specific moments that excessively draw out the drama unfolding or call into question the cultural ethnicity of the French Guard as historically inaccurate of the times. However, the point in this production, it would seem, is to make it modern. And casting Dinklage as the lead demonstrates the point, getting away from the traditional facial deformity of his nose and instead, this Cyrano is labeled a freak at the movie’s onset for his lack of height. But Dinklage gives one of his best performances; he is sincere, believable, and he excels in making his character relatable. Though his singing is not as strong as Bennett or Harrison Jr., he comes through enough, and when he joins them in singing “Overcome” in the middle of the second act, it is glorious. The rest of the cast also give fine performances, with Bennett’s cheerful portrayal of Roxanne deserving high praise. Ben Mendelsohn’s de Guiche, and Joshua James’s Valvert are also noteworthy.
In addition to the strong acting and musical performances (which also includes a beautiful rendition of “Wherever I Fall”), Joe Wright (Darkest Hour) works well with cinematographer Seamus McGarvey to seemingly give moviegoers a cinematic experience that resembles a front-row view in a musical play, reminiscent of classics like Children of Paradise. Of course, this is done with a modern touch, and the audience will feel engaged and connected to the characters, especially Dinklage’s Cyrano.
Cyrano is a film that delivers on every stage. It makes the audience care and invest in the story. The musical score complements the credible cast and the elegant cinematography and choreography. Peter Dinklage gives a stand-out performance in a worthy retelling of a classic tale that effortlessly intertwines comedy, tragedy, and love.
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