Roanoke Times
                 Copyright (c) 1995, Landmark Communications, Inc.

DATE: SATURDAY, July 24, 1993                   TAG: 9307240116
SECTION: EXTRA                    PAGE: B5   EDITION: METRO 
SOURCE: MIKE MAYO CORRESPONDENT
DATELINE:                                 LENGTH: Medium

THERE'S PLENTY GOING ON IN SCREENING OF `MUCH ADO'

But the Bard's comedies don't lend themselves to the screen as easily as recent adaptations of his histories (Branagh's own "Henry V") or tragedies (Franco Zeffirelli's "Hamlet"). Despite some moments of real brilliance, this one's so filled with talk and verbal sparring unfamiliar to contemporary ears that it will frustrate some moviegoers.

It's not that adapter/director/co-producer/star Branagh didn't do everything he possibly could to make the play "accessible." The plot has been streamlined and simplified; the film was made at a sumptuous Italian villa; and, with two exceptions, the star-studded Hollywood cast handles Shakespeare beautifully.

The action begins with the news that the Prince (Denzel Washington) has just won a tremendous victory and he's coming back to the villa for a long visit. His lieutenants Claudio (Robert Sean Leonard) and Benedick (Branagh) are ready for a rest. At first, it appears that the quick-witted and sharp- tongued Beatrice (Emma Thompson) hates Benedick, but we know how these things are going to turn out.

So does the Prince. With Claudio's help, he tricks Benedick into thinking that Beatrice loves him and vice versa. At the same time, Claudio has fallen heavily for Beatrice's cousin Hero who returns his affections. All would be well if it weren't for the presence of Don Juan (Keanu Reeves), the Prince's villainous brother.

That's where the film's problems begin, too. It appears that the poorly cast Reeves learned his Shakespeare by getting hooked on phonics. His surly line delivery is just terrible, but he sounds wonderful compared to Michael Keaton. His Dogberry is so sweat-stained and grimy that he seems to have wandered onto the set from a nearby spaghetti western. Almost all of his dialogue is intentionally garbled, and his overacting is so bizarre that the rest of the film slams to a halt every time he stumbles in front of a camera.

Thankfully, however, Reeves and Keaton don't have much to do in "Much Ado." As long as the focus stays on Beatrice and Benedick, the movie soars. Kenneth Branagh and Emma Thompson have the wit, the training, the looks and the chemistry to bring these dueling lovers to full life.

As director, Branagh was right to leave the camera on his wife, himself and their setting. The Tuscan villa where the film was made is the most impressive "real" movie location since last year's "Enchanted April," and Branagh gives it the ethereal beauty of a good garden catalog.

By the way, don't be tempted to slip out of your seat as soon as the action begins to wind down. Branagh saves one impressive bit of directorial flashiness for the very end. He brings "Much Ado" to a close with a long, complicated shot that's meant to rival the famous opening of Orson Welles' "Touch of Evil."

Much Ado About Nothing:*** A Samuel Goldwyn Company release playing at the Grandin Theater. 109 min. Rated PG-13 for subject matter, brief nudity.