In Cyrano, Peter Dinklage turns up the tragedy (and the heat) to make this classic character his own. Here's our review.
siege at Dunkirk, after all, so Wright is clearly willing to take big swings at the risk of serious misses.
But you may want to view this latest stab at Cyrano’s story through the lens of documenting Dinklage’s performance for posterity in lieu of seeing it as a classic getting a fresh coat of paint. The song essentially remains the same: Our hero loves a flaxen-haired, freckled young woman named Roxanne . She, in turn, swoons over the equally smitten Christian , a handsome soldier who lacks Cyrano’s gift for gab.
“Undesirable,” however, isn’t a word you’d use to characterize Dinklage here. You would not use “unworthy” to describe how he imprints on a role that countless other actors have left their marks on, either. And while he gets lots of support from the other cast members — Bennett and Harrison Jr. remain among the most consistently reliable actors under 35; Ben Mendelsohn turns the villainous Duke De Guiche into a slithering, entitled reptile — this is Dinklage’s show.
So even when Bennett is tearing into a Broadway-style lung-burster like “I Need More,” or the movie gives the chorus a chance to flex in the stand-out group dirge “Wherever I Fall,” it’s Cyrano you keep wondering about, Cyrano that remains the sun these planets orbit around. Dinklage gives you his appeal and his sense of self-loathing. It’s both the single most sorrowful and the sexiest take on Cyrano you’ve ever seen.
And if the magnetism of what he’s doing happens to eclipse everything happening around it, despite the film frequently turning up the musical-theater sound and fury to grand-finale levels, so be it.may sometimes feels like its struggling to find a way to say something new about a beloved, centuries-old work of art, one that’s been updated and deconstructed and reconstructed ad infinitum.
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