The story of Cyrano de Bergerac has been told many times in many forms for more than 100 years, and director Joe Wright's new version doesn't deviate significantly from the major plot points or characters. However, Wright and screenwriter Erica Schmidt -- working from her own stage play -- put enough of their stamp on the material to make Cyrano feel fresh, whether for viewers familiar with other versions of the story or for those coming to the classic tale for the first time.
The changes start with the casting of the title character, who is typically depicted with an abnormally large nose, the physical distinction that makes the intelligent, erudite warrior an insecure introvert when it comes to romance. Here, Cyrano's nose is unremarkable, but star Peter Dinklage's dwarfism sets Cyrano apart in a different way, and Schmidt doesn't play coy about how that affects the title character. Cyrano makes explicit references to his stature, which causes foes to underestimate his fighting skills but also convinces him that he's unworthy of the love of his lifelong friend Roxanne (Haley Bennett).
Set in 17th-century Paris, this reimagining of Edmond Rostand's 1897 play is a musical, with songs by members of indie rock band The National (Aaron Dessner, Bryce Dessner, Matt Berninger, Carin Besser). The music, which splits the difference between Broadway-style expressiveness and singer-songwriter moodiness, drives the storytelling, even though most of the cast members are passable singers at best. The singing starts within just a few minutes of Cyrano's beginning, as Roxanne sings her "I want" song about hoping to find true love. "Children need love; adults need money," her maid tells her, encouraging her to marry the wealthy but insensitive Duke de Guiche (Ben Mendelsohn). Instead, Roxanne falls in love at first sight with Christian de Neuvillette (Kelvin Harrison Jr.) after spotting him at the theater.
That's where Cyrano makes his grand entrance, speaking in verse as he insults the pompous actor onstage then dueling with an audience member who objects to his impertinence. The scene demonstrates Cyrano's wit and charisma as well as his skills with a sword, and Dinklage talk-sings his way through his musical number as he parries and thrusts. He delivers later songs in a more traditional singing voice, but his vocals are never particularly strong, and Bennett is the only actor who gives a truly impressive musical performance.
For the most part, though, these aren't bombastic musical numbers that call for overpowering voices. The songs' resonance often comes from how quiet they are, while remaining forceful and memorable. After singing of her desire to find love, Roxanne rushes to meet with Cyrano the next day, and he foolishly hopes that she's going to declare her love for him. Instead, she confesses that she loves Christian even though she's never spoken with him, and entreats Cyrano to intervene on her behalf, since both he and Christian serve in the city's guard. Cyrano believes that he's no romantic match for the young, handsome Christian, so he agrees to help Christian in his romantic correspondence with Roxanne.
More than Cyrano's nose, the most famous element of the Cyrano story is his pact with the inarticulate Christian, who needs Cyrano's mellifluous words to woo Roxanne. "I will make you eloquent, while you make me handsome," Cyrano promises Christian, and Cyrano pours out all his feelings for Roxanne in letters that are signed with another man's name. In the play's most iconic scene, Cyrano speaks directly to Roxanne as he stands in the shadows beneath her balcony, while she believes she's talking to Christian. In the movie, of course, that scene turns into a musical duet, a demonstration of Schmidt's ability to make the songs central to the story.
While Dinklage may not possess the greatest singing voice, he gives one of his best dramatic performances as the wistful, lovelorn Cyrano. He sublimates his desires into poetry and sword-fighting, and would seemingly rather sacrifice his life than admit his true feelings and risk rejection. Bennett matches the depth and anguish of Dinklage's performance as a character who could have existed merely as an object of desire for the various male characters. Instead, her longing for true love feels achingly real. It's not surprising that this is a movie made by two sets of romantic partners -- Schmidt and Dinklage, Wright and Bennett.
After several recent missteps in blockbuster-style filmmaking, Wright recaptures some of the flair that he brought to his excellent literary adaptations Pride & Prejudice and Anna Karenina. The world of Cyrano is vibrant and colorful, and the movie never feels stage-bound despite its theatrical origins. In the third act, when Cyrano and Christian are sent off to war by the vengeful De Guiche, Wright captures the horrors of battle even while retaining the romantic tone of the film. One of the movie's standout moments is a musical number featuring unnamed soldiers facing their doom, singing about what they're leaving behind at home.
Its ability to heighten the emotions of an already swooningly emotional story is the true power of this version of Cyrano. Everyone from Gérard Depardieu to Steve Martin has taken a crack at this character and this story, but Wright and company still make viewers feel all of those emotions as if it's the first time.
Cyrano opens Friday, Feb. 25 in theaters nationwide.