TELLURIDE – Since it first debuted in 1897, Edmond Rostand’s original play “Cyrano de Bergerac” has been staged all over the world, adapted into numerous films, and seen its ingenious narrative used in almost every form of modern media. For a new version to triumph, it needs to equal or, hopefully, transcend what came before. Attempt to turn Rostand’s work into a musical, and it becomes an even tougher challenge. Enter acclaimed director Joe Wright and “Cyrano,” which debuted at the 2021 Telluride Film Festival this week.
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Considering his history with adapting famous literary works (“Pride & Prejudice,” “Anna Karenina,” “Pan”), on paper, Wright would appear to be a smart bet to knock a new version of “Cyrano” out of the park. Throw in original songs by the Grammy award-winning band The National and a cast that includes Peter Dinklage, Haley Bennett, and Ben Mendelsohn, and it should be an even more intriguing proposition. Unfortunately, a major problem is the direct source material; screenwriter Erica Schmidt’s 2018 musical stage production simply isn’t up to snuff.
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Set sometime in the 1700s and smartly dropping the caveat that the Cyrano in question (Dinklage) has a grotesquely large nose, this version instead finds our hero with deep insecurities when it comes to his height. That being said, he’s still a master wordsmith who secretly pines after his childhood friend, Roxanne (Bennett). That fair maiden finds herself in such financial straits that she’s forced to consider the romantic overtures of the repellant Count De Guiche (Mendelsohn). Her fortunes seemingly change during a packed public spectacle when she locks eyes with the dashing Christian (Kelvin Harrison, Jr.). Before you know it, Christian has convinced his new buddy Cyrano to write love letters in his name to Roxanne, and the familiar love triangle from Rostand’s play is set in motion.
Dinklage and Bennett both appeared together in the musical workshops of Schmidt’s version, and it’s easy to recognize the natural chemistry they have on screen. The pair are also both excellent live singers, as is Harrison who’s charismatic performance is one of the film’s highlights. While most of The National’s songs are not as memorable as you’d hope (it’s hard to remember any, in particular, walking out of the theater), “Wherever I Fall” is a genuine standout (more on that in a minute). What hinders their performances and the film itself is some atrociously clumsy dialogue that pops up at the most inopportune times. There are certainly moments where Schmidt wants you to laugh, but those are outweighed by too many lines of dialogue that are just cringeworthy.
Reuniting with longtime collaborators cinematographer Seamus McGarvey and production designer Sarah Greenwood, Wright films the proceedings in almost entirely real locations on the island of Sicily (the film was one of the first COVID bubble productions in 2020). While the filmmaker’s gut instincts were on the money and McGarvey’s lighting is top-notch, multiple locations framed by gigantic brick walls make the film feel more claustrophobic than even a traditional stage production. Wright and editor Valerio Bonelli will cut to an overhead shot at times to break up the monotony, but it’s somehow more jarring than simply inserting a desperately needed establishing shot instead. The one exception is the aforementioned “Wherever I Fall” sequence. A significant portion of that emotional number was filmed on Mount Etna, a live volcano with a dramatic black rock landscape. It’s one of the few times Wright’s cinematic eye truly dazzles on screen.
Despite the change in Cyrano’s physical appearance, this version of “Cyrano” feels less fresh or contemporary than it wants to be. Something is missing either in the songs, the staging, or, more likely, the screenplay. That being said, the core story will still be compelling to many as it has for over 120 years. At my particular screening, a woman behind me was audibly bawling for the last 10 minutes of the picture. If that’s enough of a recommendation, so be it. [B-/C+]
“Cyrano” opens on Dec. 31
Follow along with our full coverage from the 2021 Telluride Film Festival here.