FeistyUpper If you don't like this, we can't be friends.

Tedfoldol everything you have heard about this movie is true.

Robert Joyner The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Ariella Broughton It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

TheLittleSongbird Much Ado About Nothing as a play is hugely enjoyable and very charming. And I have to say I really liked this version. Is it as good as the Kenneth Branagh film? Not for me. However, it does deserve to stand on its own, as Branagh's is a film and this was a TV version so they are different mediums. I personally don't think this version is perfect, Branagh's film does do a better job at making us believe that Claudio could be tricked by Don John, and I personally- and I'm putting emphasis on the personally- didn't care all that much for John Meyer's rather cartoonish Don John. However if there are assets I do prefer it is that "your Hero, his Hero, everyman's Hero", which has always brought a lump to my throat, is not cut and the performance of Dogberry, Barnard Hughes is funnier and much more subtle, and he is just terrific in general. This Much Ado About Nothing does look great, the scenery and costumes are sumptuous and it is beautifully shot as well. The music is pleasant and lilting, though I can imagine it being even more vivid live. There are some effective scenes, the love/hate sparring between Beatrice and Benedick is very funny in its wit and the scene where Benedick and Beatrice are tricked into thinking one loves the other is lovely to watch and the visual humour with Benedick drawing closer is inspired. Generally, the performances are fine. Along with Hughes, the best of the cast were Sam Waterson as a handsome and aristocratic Benedick and Kathleen Widdowes as an intelligent and witty Beatrice. Their chemistry is really wonderful. Douglas Watson is also a noble Don Pedro, Mark Hammer is likable as the father figure Leonato and April Shawnham's Hero is lovely. Some may find her bland, but in a way Hero is a bland character in comparison to Beatrice, Benedick and Pedro. Likewise with Claudio, who is also competently performed without standing out in the same way. All in all, I liked the 1973 version very much but I didn't love it. 8/10 Bethany Cox

LilyDaleLady I'll be honest, I haven't seen this in years and didn't know you could even buy a DVD copy (and I'm definitely asking for this for my next birthday!). I first saw this in 1973, on PBS and fell in love with both the play and Sam Waterston (at the time, an unknown minor off- Broadway actor)! I was 17 at the time, LOL.Normally, I'd probably not bother to review something this slight and 40 years old, but I was taken aback by the cruel reviews of this piece on IMDb.....for starters, people are reviewing it as if it were a poorly made FILM. It is not a FILM. It was an off-Broadway Shakespeare production (by the famous Joe Papp, no less) that was such a minor hit in its day (FOUR DECADES AGO), that PBS had it filmed for their well-received series, Theatre In America.This was a WONDERFUL series, back then, that let Midwestern kids like me -- who were not ever going to get to go to NYC to enjoy these productions -- see them filmed for television. (I assume this was done near the end of their run, so as not to cannibalize ticket sales.) They were never, ever intended to be movie versions -- they were quite consciously filmed in a manner to capture how they were as STAGE PLAYS, and done for public television.I saw some wonderful stuff this way, back in the early 70s, including an ingénue Meryl Streep in "Uncommon Women and Others" by Wendy Wasserstein. But my favorite of all these, was "Much Ado About Nothing".It is unfair to compare this to a $30million modern MOVIE, such as the one with Kenneth Branaugh (which is fine, though not remarkable in any way). It simply could have never had the production values or budget of such a film. I would guess it was videotaped by a single cameraman right on the stage! It is more fair to look at this as if it were a rare, treasured chance to see a 1970s Joe Papp production, as if it were captured in a time machine. A production that only a handful of theatre-goers had the privilege of seeing as it was produced. What a cheap shot it is to scorn this lovely production, for not being a big budget Hollywood film!That being said: I still hold this to be one of the most charming adaptations of the play I have ever seen, and I've seen it at least a dozen times on stage, as well as major movie versions. The choice of the early 20th century, post Spanish American War is inspired -- it also places the date as 1898 if any cares - -and the stage version is rich in period detail, men in straw hats and striped blazers, ladies sneaking cigarettes in greenhouses, bicycles and rowboats.A very young Sam Waterston and Kathleen Widdoes really shine in these parts, not the least because the setting removes all the stuffy Elizabethean fussiness, and lets them use American accents, and a natural way of speaking. There is a very excellent supporting cast with Barnard Hughes and Douglass Watson (Watson and Widdoes went on to long careers in the soaps, but were first and foremost stage actors).Someone mentioned F. Murray Abrams, but I don't remember him or see him listed -- must have been a non-speaking walk-on part. Remember -- this was 1972!!!I am delighted this enchanting production was saved on video tape. Please enjoy it for what it is, and the charm and delightful performances, and don't try and compare it to a multi- million dollar film. Indeed, I have found that some Shakespearan plays really do work better on stage (or in simple videotapes of stage productions) than the big budget blockbusters -- that is how they were DESIGNED to be seen. The delicate comedy is often lost on the big screen.Lastly: there are so many thousands of productions (film, stage, school) of every Shakespearean play -- and for four hundred years! -- that you can have MORE than one good or valuable version of each play. It isn't tit for tat; that this is a lovely production doesn't take away from the Branaugh version and vice versa. Each play is capable of being interpreted in MANY different ways, and it is only after seeing many different versions that you can fully appreciate the genius of Shakespeare, that his work is so infinitely adaptable.

mlaiuppa I've seen quite a few productions of Much Ado, both on film/TV and on stage and I must say this Joseph Papp production with Sam Waterston and Kathleen Widdoes is my absolute favorite. The time period is perfect. And they really used the period and the setting extremely well. Using the Spanish American war as inspiration was...inspiring. Beatrice is both strong and feminine. I think my favorite part is when Beatrice is eavesdropping in the conservatory and the sprinklers come on. While shot on a set, you can still see the roots this production had as a stage play. But that isn't lost when it's brought to the screen. The setting allows for more flexibility in shooting angles and close-ups, but you still get a sense of the intimacy of a stage production. I say "bully!" Two thumbs up.

kbuswell This is a very bland and inert production of one of Shakespeare's most vibrant plays. I can only guess that the intent was to make the play as accessible and understandable as possible to an audience that has not been exposed to Shakespeare before. By doing this, though - by making every line clear and every intent obvious - they have drained the play of life and turned it into a flat caricature. Somehow, it is actually boring - a very hard feat given such wonderful material.The acting is forgettable at best - Sam Waterston as Benedick and Douglas Watson as Don Pedro. Others, however, do not fare so well. April Shawnham's Hero is a pouty, breathless airhead that frequently provokes winces. Jerry Mayer's Don John is a nonsensical cartoon character on the level of Snidely Whiplash (though Snidley was much more enjoyable).F. Murray Abraham (you know, the guy who killed Mozart?) is not in this version, unless he was in disguise and had his name removed from the credits.Given that the producer, Joseph Papp, is basically a theater god, this production is not only disappointing but head-scratching as well.Don't bother with this. Watch Branagh's Much Ado instead - his version is overflowing with vitality and humor, to say nothing of wonderful performances.