This summarizes a film assignment criteria document that provides guidelines for writing a paper about a film adaptation of Shakespeare's "Much Ado About Nothing" directed by Kenneth Branagh. The summary should include: 1) The assignment requires a review of the film, examination of two characters (Dogberry and Don John), and discussion of three aspects of the film (motion, point of view, transition). 2) It provides grading criteria for each section and assigns point values for meeting the expectations in the response. 3) A works cited section is also required to cite a newspaper review of the film.

1. Film Assignment
Film Assignment
Criteria
Ratings
Pts
Heading & paper format
Paper includes heading of Name, A#, USU 3330-SEC,
Assignment Name, Assignment Date in a single line across the
top of the page. Paper is single-spaced, in standard font size and
type
1.0 pts
Paper deviates from or is missing one or more of these
guidelines
0.0 pts
1.0 pts
Section headings
Headings are included. No other text from the prompts is
included
5.0 pts
Headings are mostly correct (1-2 minor errors)
3.0 pts
Headings are incorrect or missing
0.0 pts
5.0 pts
Part 1: Review
Review is thoughtful, specific, and of high quality. It explains
what you liked best and least, notes anything from the film you
found appealing or distracting, and includes a statement of
whether or not you would recommend this film to others
20.0 pts
Response meets most of the criteria. Response is average
16.0 pts

2. Response meets some of the criteria. Response is below average
12.0 pts
Response ignores the prompt or is missing
0.0 pts
20.0 pts
Part 2: Character name
Response names either Don John or Dogberry
10.0 pts
Response is vague in referencing or does not provide the name
of either Don John or Dogberry
0.0 pts
10.0 pts
Part 2: Character examination
Comparison of the character in the text with his portrayal in the
film is thoughtful, specific, and of high quality. Response notes
specific ways the film added dimension to his character.
Response includes analysis of the character's clothing, props,
and settings in the film
15.0 pts
Response meets most of the criteria. Response is average
12.0 pts
Response meets some of the criteria. Response is below averag
8.0 pts
Response ignores the prompt or is missing
0.0 pts
15.0 pts
Part 3a: Film quality
Response names either motion, point of view, or transition.
Response is thoughtful and specific in discussing the film's use
of this quality
8.0 pts
Response names one of the qualities. Discussion of the film's
use of this quality is adequate. Response is average

3. 6.0 pts
Response is vague in naming and/or discussing a film quality.
Response is below average
4.0 pts
Review ignores the prompt or is missing
0.0 pts
8.0 pts
Part 3a: Film vs stage
Response names specific ways this film production varies from
what would be possible in a stage production. Response is
thoughtful, specific, and of high quality
8.0 pts
Response discusses general differences between film and stage,
but lacks specificity. Response is average
6.0 pts
Response is vague, sparse, or otherwise lacking. Response is
below average
4.0 pts
Response ignores the prompt or is missing
0.0 pts
8.0 pts
Part 3b: Review
Review is thoughtful, specific, and of high quality. Review
includes a statement of whether or not the film's portrayal of
these two scenes was effective and an explanation of why it was
or was not effective
15.0 pts
Response meets most of the criteria. Review is average
12.0 pts
Response meets some of the criteria. Response is below average
6.0 pts
Response ignores the prompt or is missing
0.0 pts

4. 15.0 pts
Works cited
Works cited includes the citation for one newspaper film review
(from one of the approved newspapers)
8.0 pts
Works cited does not include the citation for one newspaper
film review or review is not from an approved newspaper
0.0 pts
8.0 pts
Works cited format
Works cited is formatted correctly. Web citations include the
URL.
5.0 pts
Works cited contains 1-2 errors
3.0 pts
Works cited contains 3 or more errors
0.0 pts
5.0 pts
Spelling/grammar
Minimal (1-2) errors
5.0 pts
A few (3-5) errors
3.0 pts
Many (6+) errors
0.0 pts
5.0 pts
Total Points: 100.0
Saeed Shafloot, A01507995, CCA 3330, Film Assignment,
03/05/2015
How to be actual and funny when you deal with 400-years-old

5. text
'Much Ado about Nothing' by Kenneth Branagh
Part 1: Review
Beautiful girls Gero and Beatrice in white dresses are sitting on
the grass in the heart of Italian Toscana (jesting aside, it is
really Toscana on the screen). So the girls are eating grape,
reading poetry, and waiting for somebody to fall in love with
them. And charming prince with his retinue is already coming
and the adventures begin. There are love, jealousy,
misunderstandings, death, regrets, and jokes, so many ageless
Shakespeare's jokes in this forever-actual plot.
Kenneth Branagh is well-known for his cinema adaptation of
Shakespeare's plays, he also shot 'Henry V' and 'Hamlet' and
starred in 'Othello' by Oliver Parker. Branagh's movie 'Much
Ado about Nothing' was the first sound version of this play in
English released to cinemas.
There is no extremely “new point of view” on the classical play
in this movie. First of all, Branagh does not make an attempt to
bring the plot in nowadays circumstances as we saw it in
another adaptation of 'Much Ado About Nothing' (2012) by Joss
Whedon or in many other cinema versions of classic plays.
Branagh saves light comic convention of the plot and dramatic
situations so the audiences are expected to believe in these
'game rules'. But anyway Branagh did not elude the modernism
influences that dictate to redefine classical works and look for
new shades in them. Branagh's version is ironic, light, and full
of life. The text is classical, the locations and costumes are
more or less historical, but the acting and production are
absolutely modern.
First of all, this movie does not look like a boring theater play
in the cinema. It is a good romantic comedy. Besides, one can

6. find many famous actors’ names in the credits, like Keanu
Reeves, Emma Thompson, Kate Beckinsale, Denzel Washington,
and others. So, this movie might be interesting for public at
large.
Also this adaptation would be recommended for those students
who are too lazy to read Sheakspear's text and prefer to watch a
film. This movie is very close to original text of the play and it
gives reasonable notion about Sheakspear's work.
Part 2: Character Examination
Dogberry is an episodic character. It is the constable of night
watch, but his part in the plot is very important. Only because
of him the payoff is delaying in a certain moment and the plot is
going to the high point. And Dogberry appears in this high point
and solves the situation.
While reading the text one can see that this character is tedious
and stupid, but assertive. He is chicken-hearted, though he
wants everybody to think he is brave. So, he can arrest or hit
somebody when there is no danger to get beans. Dogberry is
quite despisable in the text of the play, but in the movie his
features are very hyperbolic and developed.
Michael Keaton plays Dogberry's part in Branagh's adaptation.
The actor contrived to make his part bright and remarkable.
Keaton's Dogberry has filthy rig, his hair is fat, he shaved about
a week ago. He is a sloven and always looks as flyblown in the
night and like he has a bad hangover in the daytime. He always
moves like if he is riding an invisible horse. It seems the horse
is sold and the money is drunk away. Keaton's Dogberry is
stupid, but it is because of alcohol. At the same time, we never
see him with the bottle.
Michael Keaton acts gorgeously, he is very plastic and his facial
gesture is killingly funny. He found the way how to convert

7. Dogberry's tediousness and foolery into specific wit.
Part 3: The Entrapment of Benedick and Beatrice
3A
These scenes are very dramatic and funny at the same time.
Friends of Benedict decided to let him hear that Beatrice is in
love with him. One moment later Beatrice's sister tells Beatrice
about Benedict’s love. These scenes are very similar and they
are directed evenly in the movie. Both scenes of original play
were a little cut for the screenplay.
We can see the scene with Benedict from three points of view.
First of all, we see it as if a detached observer and we can watch
it from different angles. The cameramen shows close ups, uses
crane and several cameras. So, the viewers are everywhere and
they can see different places of the garden where the action is
going on.
Secondly, the subjective view of Benedict. He is hiding in green
bushes around courtyard and listening to the conversation of
Claudio, Leonato, and Don Pedro. We see these three characters
through the leaves and they are remote from viewers.
Finally, the third viewpoint is the position of Claudio, Leonato,
and Don Pedro. They know that Benedict is hiding in the bushes
and sometimes they can see him. Thanks to close ups we can see
their emotions that are imperceptible for Benedict. The close-
ups let the public see all face gestures and read the mood and
thoughts of the character.
The scene with Beatrice is organized in the same way with
similar points of view.
After the end of second scene it is clear that Benedict and
Beatrice are almost in love with each other. To show this

8. emotion the authors of the movie use double exposure, so we
see both the image of Benedict jumping in the fountain and the
image of Beatrice on the teeterboard.
3B
The scene with Benedict starts from his monologue about
women. Benedict (Kenneth Branagh) tells it with enormous
pathos and eventually it shows us this character in a very ironic
light.
Then Claudio, Leonato, and Don Pedro come and Benedict
decides to hide himself. Don Pedro asks Baltasar to sing.
During this song we see one long shoot that shows many small
scenes acted by several groups of servants and singers in the
yard. Tricky camera path and well-planned set-ups let us
imagine bucolic and steady everyday life in Leonato's house.
This is very filmic piece and no other genre of art could create
so dynamic, informative, and floaty picture.
So, these two scenes were effective because of using camera
motions, actors' movement in 3-detentions sets, different points
of views (subjective camera), double exposure, and close-ups.
All these devices create very dynamic and fascinating scenes.
Work Cited
A. O. Scottdec. Home Fires, Acridly Burning ‘August: Osage
County,’ With Meryl Streep and Julia Roberts. New York
Times, Dec. 26, 2013. Web