The paper is about Cyrano de Bergerac play by Edmond Rostand in 1897 and later released in a film based on a romantic soldier who romances his cousin, Roxane, by proxy

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Cyrano de Bergerac
Cyrano de Bergerac is 1897 written play by Edmond Rostand and later released in a film
based on a romantic soldier who romances his cousin, Roxane, by proxy. Adapted and directed
by Jean-Paul Rappeneau, and produced by Stanley Kramer, the film started as a poetic drama
before later being made into a movie on December 25, 1990. The play was written as a riposte to
Ibsen and Zola at a period when the theater was influenced by realism, naturalism, and skeptics-
Rostand. This film evokes the notion of grand romantic gestures with Cyrano, a pudding-faced
man with a large nose, dares to love the fair Roxane. This compelling version of the film tells the
usual drama script without overloading the narrative with conceptual conceits.
Even though he is famed by his big nose, they main point about the hero is that he
expresses the idea of romantic self-sacrifice to the extent that the love he has for Roxane (Anne
Brochet) is purified through his writings for the incoherent Christian. The play expresses a hymn
of the artistic freedom with the expression “better that,” as Cyrano says. As a swordsman and a
writer he succeeds, but for being a lover, he plummets, because of his looks.
In the movie, Cyrano fits the famous large-nosed hero with articulation and grace. No
one dares to mention about his big nose in the barracks as ‘using a handkerchief can send you in
a coffin.' His character as a person of truth and devotion fails when it came to the matters of his

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nose, a deformity no one dared mention. Roxane admits her feelings towards this young recruit,
Christian de Neuvillete (Vincent Perez) a handsome man with fair looks. Roxane asks Cyrano to
protect Christian, a suggestion that he agrees to. Later when the two meet, Christian sneers him
in front of troops to show off his cheek.
Produced in conventional theatrical style, the movie is quite familiar with Cyrano being
on the cast and supported by Huckleberry Finn, any degradation of the character would be less of
a perfect film. The film is planned and constructed in five formidable phases in line to the five
scenes of its stage performance. Nevertheless, one significant scene is based on Ported De Nesle;
a scene only talked about in stage performances. In this scene, Cyrano is portrayed as a character
that fights the ‘hundred men.’ About the signature song, of the Cadets of Gascoyne, the scene
has been carefully overlooked.
Despite Christian’s charming looks, he is conventional and ineloquent, and what Roxane
yearns for to seal the passion the love is a spark of poetry. Cyrano comes to his rescue and writes
for him and lets Christian deliver them. This does not hold for long as Roxane finds out that he
has no language but simple ‘’I love you,’’ statements. This tilt of language interests her more,
and Cyrano arranges a midnight date under Roxane’s balcony. This, however, fails, as Christian
fumbles and fails to articulate the lines prompted by Cyrano to the extent that he is compelled to
snatch off his hat and continue with the narrations in his voice.
The greatest romance is void and unfulfilled. Not only physicality matters, but also the
imaginations expressed through words as expressed in Cyrano’s letters, and from his lips in the
darkness under her balcony. During a siege, the army was sent out to fight Spaniards, and
Christian finds out that Roxane has fallen in love with Cyrano. Although not known to her, this
arousal of passion is through his treachery.

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Mr. Ferrer plays Cyrano predominantly in a spec that compels theatrical tradition of
gesture and sheer articulation. He further speaks the poetry of Rostand with a skill that only but a
few actors have managed to succeed. This is well paced by his nobility indecisiveness that
carries the play with formidable grace.
It must be however noted that there is a great amount of character that has been well
expressed in a theatrical performance that had been enriching the play; Cyrano’s arrogance, wit,
and swagger in the face of authority is exceptionally exuberant and Mr. Ferrer fits into the shoe
well with glamor and pride. However, his ramble and ‘lollygag’ gimmick over Roxane is hard to
take especially while pressing Christian’s suit with antique of ploy. The epic nose worn by Mr.
Depardieu is presented with swagger and style making it a grand achievement in the
Rappeneau’s new French film adaptation. The narration of love speeches for the young man
under Roxane’s balcony is a formidable act which its incredibility can only be compared with the
size of Cyrano’s nose. Roxane is presented as a lovely but mild girl, and Christian makes a suitor
a perfect example of a solemn young simpleton.
The film is filled with expansiveness, humor, blatancy, and theatric gimmicks. This
highlights the importance of imagination in drama and seeing how plays are performed,
Burroughs (2000). It presents within it a disciplined whirlwind with conflicting emotions that
makes its way into theatrical scenes. The film presents and retains the best qualities of
expressional romance, with many actors, all who leave a formidable mark. On characterization,
Cyrano is not new in this popular career. His first performance in Paris in 1897 was a famous hit
in France. His sacrifice sees Depardieu’s triumph. He still remains as one of France’s most
cherished treasures with popularity more than that of Paris Metro.

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Work Cited
Burroughs, C. B. (2000). Women in British romantic theatre: Drama, performance, and society,
1790 - 1840. Cambridge: Cambridge University Press.