As Boggs and Dennis (46) said “Much Ado about Nothing” is an interesting film that mirrors Shakespeare’s poetic and an all-encompassing entertaining prowess. I would recommend the film to any individual who wants to have a view of the 16th century literature redone with modern aesthetics and presented as film.
As Landrum (751) said, Dogberry is the constable manning the Watch. The chief law enforcement officer of Messina is relatively honest and demonstrates a high level of seriousness in executing his policing tasks. However, his habit of employing incorrect terms to communicate is what differentiates his portrayal in the script and in the film. In the text his actions are not well defined, but with Nathan Fillion acting as Dogberry, viewers are effectively treated to a great drama surrounding the character’s “wrongful” choice of words. The film actor is known for turning his rather distracting approach (in the text) to an elaborate sense of parody in the film.
In Act II, Scene III, the garden scene features the practice of a new ploy that can only be captured in film and not any other forms of art. Don Pedro, Leonato and Claudio persuade Benedick that Beatrice loves him. The romanticist trickery seems to be bearing a fruit when Benedick buys the idea. The character is of the opinion that he is spying on his comrades, but, because his presence is no longer a secret, they intentionally raise their voices to be heard. The romanticist drama created by Leonato, Don Pedro, and Claudio as they attempt to suppress their laughter about the possibility of Beatrice breaking down under the weight of her emotional attachment to Benedick depicts blind romance between the two characters, which unlike other forms of art, filmic trickery helps to connect (Landrum 785).
In the subsequent Act III, scene I, Hero and Ursula pull a trick upon Beatrice, which surprisingly blinds her just the same way as Claudio and Don