Jose ferrer cyrano de bergerac film duel scene

The big nose is just a conceit, not a physical handicap. I am a devoted fan of GГ©rard DepardieuвЂs Cyrano (my generationвЂ™s definitive Cyrano, natch), but Depardieu still comes across as too conventionally attractive. This Cyrano has far more to overcome with the body he was born with than just a comically large nose. While DinklageвЂ™s Cyrano is clearly physically up to the task of besting anyone in a duel who dares cross him, he is still seen as a freak of nature, or worse, a comical parody of what a virile man should look like and therefore he is dismissed out of hand as a viable suitor to his beloved Roxanne (Haley Bennett). His size is a bigger problem than a large nose, and it drives home a lot of presumptions about masculinity that persist even today. Peter Dinklage, while undeniably more conventionally attractive than Cyrano ought to be, nonetheless is a great choice to subtly underscore the original themes of the play. Instead of a big nose, Cyrano is a little person. The difference in this Cyrano adaptation is obvious right from the start, but the themes stay true to the original source material. It is deliciously painful to watch unfold. Cyrano initially sees this as ideal for everyone involved, until his words work too well, and Roxane and Christian fall in love, and he realizes what hell he hath wrought on himself. ChristianвЂ™s limited intellect is not quite up to the task of wooing Roxane, so Cyrano offers to step in and be the words behind ChristianвЂ™s handsome faГ§ade. He also is hopelessly in love with a noblewoman, Roxane (the spelling differs between the original play and this film, fyi), who loves him only as a friend while yearning for the conventionally attractive Christian, a fellow soldier in CyranoвЂ™s regiment.

Jose ferrer cyrano de bergerac film duel scene