Greetings again from the darkness. Filmmaker Joe Wright has proven how adeptly he can re-make a classic love story. You'll likely agree if you've seen his versions of ANNA KARENINA (2012) and/or PRIDE AND PREJUDICE (2005), which are in addition to his best film (also a love story), ATONEMENT (2007). Working from the terrific script Erica Schmidt adapted from Edmond Rostand's 1897 play, Wright delivers a musical version of Cyrano de Bergerac that delivers all of the intended "panache" of the original tragic-romance.

Peter Dinklage (THE STATION AGENT, 2003) stars as Cyrano, a master swordsman and orator who entertains with words that cut like a surgeon's scalpel ... except when he's weaponizing those words for love. Haley Bennett (SWALLOW, 2019) plays Roxanne, the secret object of Cyrano's desire, though she views him as but a close friend and confidant. Instead, her gaze is upon the newly arrived Christian (Kelvin Harrison Jr), a virile and handsome man lacking the charisma and common sense required to court Roxanne. This dilemma lends itself to the melding of Cyrano's word being delivered by the preferable packaging of Christian.

Rather than Cyrano's oversized nose, the film uses Mr. Dinklage's diminutive stature and feelings of unworthiness of Roxanne's affections to create the division, and yet it's the musical aspect that takes a bit of getting used to. Dinklage excels in the film's best sequence, as early on he humiliates a poor stage actor, a rebellious act that ends in a duel ... entertaining for the play's audience as well as us as viewers. It's the connection between Cyrano and Christian that leaves us missing the good stuff. It all happens quickly and efficiently, rather than a slow transition from foes to partners. The film is at its best when Cyrano's loneliness is at the forefront ... Dinklage excels in these scenes. In fact, Wright and the actors (Dinklage and Bennett) nail the ending which packs the punch Rostand intended.

Mr. Dinklage has long been married to the film's screenwriter Erica Schmidt, and Ms. Bennett and director Wright have a daughter together. These ties may have contributed to the effectiveness of the best scenes, though we do wish Ben Mendolsohn (as De Guiche) had a bit more screen time. The three most well-known film versions are CYRANO DE BERGERAC (1950) starring Jose Ferrer, ROXANNE (1987) starring Steve Martin, and CYRANO DE BERGERAC (1990) starring Gerard Depardieu. Wright's latest version is set apart with the musical aspect, and certainly the Dinklage performance ranks amongst the best. Edmond Rostand's play was a fictionalized version of the life of Savinien de Cyrano de Bergerac (1619-1655), but the romance, ego, and self-doubt applies to all eras.

I'd give ANYTHING, for someone to say...

Roxanne, Roxanne, all she does is party all night

A period piece about the poet Cyrano de Bergerac. Although not burst of energy like In the Height, Cyrano radiated elegant melody and beautiful imagery. The set was amazing. There were many beautiful shots and along with the cinematography made the movie felt dreamy and romantic. But most importantly the music was mostly beautiful and magical. The first piece "Someone to Say" captured the feel of this movie perfectly, and somehow it was quite catchy.

Even though the movie was calm, it was still filled with energy because of Peter Dinklage's phenomenal charisma. That scene at the beginning reminded me of the old Tyrion Lannister, the smart and eloquent man where his words were just as powerful as swords. He could be serious, but also charming and funny as well.

My biggest problem with the movie was the story itself. It's mostly predictable, and some characters had questionable actions.

Overall, aesthetically and musically beautiful. 8.5/10.

I am far from woke, but the low rating is probably due to the anti-pc crowd. I like to see us breakout from the typical leading man.

Dinklage isn't the greatest singer, but that makes his songs even more heartfelt, in my opinion.

Dinklage does great, of course. So do all the other main characters.