Cyrano

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.

Rostand's play is a durable one, even if it does seem implausible.... but in drawing the character of Cyrano de Bergerac, was accurate. De Bergerac was a French officer with an enormous nose, who wrote excellent poetry, dramas, and even a novel about a trip to the moon. I don't know how accurate the story of his duelling ten people in one night was, but no one ever called him a liar on it while he lived.

In casting Peter Dinklage as Cyrano -- without the nose -- director Joe Wright has expanded the character's touchy honor to all the physical slurs people undergo; that's not a bad idea. Dinklage is a problematic choice, given that someone his size would not have been enlisted in the French Army in this period. Once, however, you accept this, his expressive features reveal everything about the character. Haley Bennett as Roxanne is enchanting, and Kelvin Harrison Jr. As Christian is a kindly if slow-witted young fellow: a perfect tenor for Grand Opera.

I'm not fond of the music for the songs, which seem to be largely recitative, and only one song had first-class lyrics: "Where I Fall". Nonetheless, Wright and his cameraman, Seamus McGarvey, understand that the songs in a musical are about what's going on inside the performers' heads, and use a highly mobile camera to obliterate the space. In between those, they find a lot of beautiful scenes to shoot, looking like ancien regime paintings. It's not the best take I've seen; that would be the one with Gérard Depardieu. But this is a very good one too.

Peter Dinklage, awesome actor, as for singing....all I could compare it to, is Pierce Brosnan in Mama Mia.

I feel a bit of a fraud seeing this, as I'm not a fan of musicals, and I wasn't aware that this was a musical, until the first number. For me, the music was poor, and actually detracted from the film.

Visually, amazing, the sets and costumes were the best element, it looked phenomenal.

Acting, very good, it is Dinklage who impressed me the most.

If you're expecting something along the lines of Les miserables, I fear you may be a little disappointed.

I'm glad I went to see it, it's not a film I'd want to watch again. 6/10.

Art direction was good but the plot just didn't feel right and melodies were just ok.

I think Peter Dinklage dud what he could with the script. Given a more thought out plot I think he could have achieved much more.

From the opening it all just didn't feel credible enough

That said, I think Dinklage has shown he is a flexible actor with a heck of a lot of talent

I would like to see him tackle the role of a genius get dark gangster With a clever enough script I think he could turn in an award winning performance

Buy Sadly not in this movie. It simply didn't reach the scale of his potential.

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.