‘Cyrano’: The Romance Story that Hollywood Needs
No matter the state of the world, who wouldn’t give anything to have someone say to them that they’ll never leave, and to love them even when things turn difficult? These rosy declarations are some of the first words heard — or in this case, sung — in director Joe Wright’s newest film “Cyrano,” MGM’s grand musical-drama based on Edmond Rostand’s 1897 play “Cyrano de Bergerac.” It’s a romantic tale indulgent in dramatic conceits galore: hopeless romanticism, sword fights and a whole lot of poetry.
Seasoned thespian Peter Dinklage stars as the tormented Cyrano, a witty sword-wielding poet who believes he is doomed to love the beautiful Roxanne (Haley Bennett) from afar because of his appearance — one he feels no wig or noble title could ever make desirable. When his true love has her head turned by the handsome Christian (Kevin Harrison Jr.), an opportunity arises. Christian boasts every attribute Cyrano doesn’t have, except one: poetics. Given Christian cannot find the words to woo Roxanne, he turns to Cyrano to compose love letters to the strong-willed damsel, who will settle for nothing less than true love. Before the imminent war calls for duty, Cyrano is given one last chance to confess his love to Roxanne without barriers.
“Cyrano” is a cinematic experience crafted for pure enjoyment. Rightfully, the film relinquishes nothing to justify its existence in the current film pantheon devoid of unapologetic, larger-than-life romance. It’s characteristic of Wright to push for such allure; his previous era-specific works, namely “Pride and Prejudice” and “Atonement,” have accumulated immense pop culture capital for their clever wit and romantic aesthetics. With “Cyrano,” he once again proves that if there is anything that he has mastered during his directorial career, it is the art of the period film.
The film explores the meaning of love beyond romance — it touches on friendship, military brotherhood and the acceptance of oneself. Some of its most powerful scenes deal with the cost of war, and having the chance to say goodbye to loved ones before the inevitable. It’s also packed with laughs. The actors — Dinklage especially — make choices to find humor in unexpected moments and the tense. Wright’s quirky, erotic humor also makes its usual appearance, most memorably in a scene where a love song and bread baking complement one another … sensually.
Considering Rostand’s play continues to be retold over a century later, a modern rendition only works to enhance its already timeless narrative. For one, dwarfism is addressed in a non-exploitative manner that signals a positive future on the screen for the community. Dinklage’s Cyrano is an image of the types of protagonists that viewers with dwarfism can imagine themselves as. It also relieves the stigma that dwarf actors have faced in the world of film and hopefully opens up more types of roles available to them in the future. There’s also a strong female-led narrative; instead of Roxanne being subjected to an overbearing duel of possession between Christian and Cyrano, she exercises agency by deciding what she wants for herself. Love is not her weakness — it is the source of her power.
Perhaps the film’s most powerful narrative attribute is that it’s also a musical — or rather, “a film with songs,” Dinklage said. It’s an accurate description; it certainly lacks the feel of the Broadway musical adaptations that have fallen out of vogue in recent years and tend to be met with disdain from viewers who passionately dislike musicals. The film is adorned with an original score composed by Aaron and Bryce Dessner of rock band The National. Instead of flashy theatrical melodies, the Dessner brothers instead opt for their trademark folk softness mixed with a regal, classical sensibility. There’s also an original catalog of songs penned by Matt Berrninger and Carin Besser that are Cyrano’s true poetry. The human touch of its lyrics, with songs like “Someone To Say,” supplement the story with the complexity it needs. The music is much more than an accompaniment — it is very well the soul of the film.
There’s a noticeable regard for craftsmanship through Wright’s precise direction and aesthetic appreciation. The medium of film is on “Cyrano”’s side, with its powder-puffed and blushed visual design that delectably beautifies every inch of the big screen. There’s candlelit theatrical sets and airy Italian exteriors where a company of dancers float gracefully to the sweeps of regal melodies. The choreography is complimented by an ensemble of costumes designed by Massimo Cantini Parrini, whose work for the film garnered a nomination for Best Costume Design at this year’s Academy Awards.
“Cyrano” is a simple tale, but it’s a courageous one. It’s a breath of fresh air in a Hollywood where romance films are either formulaic direct-to-streaming vessels that exist solely for viewership or lightweight theatrical releases that have fallen into complete irrelevance in favor of more “serious” filmmaking. It shows once again that romance makes for great entertainment if you indulge in it. Not only that, it’s a tender story about the human condition that understands at the end of the day that the need to be loved is undeniable.
“Cyrano” comes out only in theaters Feb. 25.