Peter Dinklage Brings a Heartbreaking Vulnerability to Joe Wright’s ‘Cyrano’

Sandra Miska

Few fictional romances have had quite the cultural impact like that of “Cyrano de Bergerac,” Edmond Rostand’s 1897 French play that tells the story of a man with a huge nose and a gift for writing who harbors a secret love for his cousin. But it is not so much the unrequited love story involving Cyrano and the beautiful Roxanne that has inspired numerous adaptations, but the relationship between Cyrano and another suitor, handsome soldier Christian. While Christian has the dashing looks to make Roxanne fall in love with him at first sight, he lacks the skill to keep a clandestine seventeenth century romance going. This is where Cyrano comes in, as the older man agrees to write passionate and expressive letters to Roxanne on Christian’s behalf, not only giving Christian an eloquent voice, but himself an outlet for his feverish love. Steve Martin and Gérard Depardieu have both played versions of Cyrano, and now Peter Dinklage makes the character his own in Joe Wright’s adaptation, simply called “Cyrano.”

There are numerous differences between “Cyrano” and the original play, the biggest one being that the monologues have been replaced with sweeping musical numbers written by Aaron and Bryce Dessner of The National, with lyrics by Matthew Berninger and Carine Besser. Also, Roxanne (Haley Bennett), is not Cyrano’s cousin, but a longtime family friend. Dinklage, with his handsome looks may not seem like the obvious choice to portray an “ugly” guy, as the only thing that makes him an unconventional leading man appearance-wise is his short stature. And unlike most others who have taken on the role, he does not wear a prosthetic nose. Instead, Dinklage beautifully plays him as being tragically insecure. While his Cyrano, who is as skilled with a sword as he is with a pen, can beat any man in a duel and even take out a whole gang in self-defense, he is unable to bring himself to confess to Roxanne, with whom he has been in love for years, his feelings. He comes close during a secret morning meeting at a bakery, but she unknowingly breaks his heart by revealing her own passion for a man whom she has fallen in love with at first sight at the theater, the dashing Christian (Kelvin Harrison Jr.).

“Cyrano” was written by Erica Schmidt, Dinklage’s wife, who adapted her own stage musical, and it contains most of the major beats of the original play. Devoted to Roxanne’s happiness, Cyrano promises her that he’ll look after Christian, who serves with him in the King’s Guard. He goes a step further when he agrees to write the letters, but this is not entirely a selfless act, as it allows him to pour out his intense feelings to Roxanne on paper without her knowing it is him. “I’ll make you romantic and you’ll make me handsome,” he tells Christian. Meanwhile, a third suitor, rich and bitter Count de Guiche (Ben Mendelsohn), presents a looming threat to all three of them, and his role in the military basically means he has the power of life and death over Cyrano and Christian.

“Cyrano” may tell a story as old as time, but Schmidt, Wright, Dinklage and the rest of this impressive cast make it their own by digging deeper when it comes to the characters. While Dinklage brings a vulnerability to the role that breaks the viewer’s heart, Christian, surprisingly, is also endearing, even lovable at times.

“I think he is a man of principle,” Harrison revealed during a recent interview with Entertainment Voice. He points to one of the more emotionally affecting musical numbers, the reprise of “Someone to Say,” which gives Christian a backstory. “He says, ‘I’m the son of a soldier, and my father told me books and letters weren’t meant for me,’ and I think that really gives you an idea of his perspective. It’s not that he isn’t interested in it. That just wasn’t what he was supposed to do. Can you fault a man for having this background? He’s like, ‘But I do love this woman, and I think she’s incredible. If she wants poetry, then I’ll do my best to give her poetry. If you say you can help me, then I believe you.’ There’s something very earnest and sincere about him that I interpreted Christian to be, instead of [vain].”

Bennett’s Roxanne, meanwhile, has more agency here than she does in the original play, and she can even be called a feminist. As is the case with Christian, a musical number brings out another side of her, in this case, a rebelliousness that shines through when Christian intrudes on her in a safe space, a ladies’ poetry salon. Unimpressed by the trappings of a traditional courtship, she bares all to him in “I Need More,” a rousing song about love and empowerment.

“The play was written by Edmond Rostand in 1897, and the attitudes toward women were very different,” explained Wright when asked about Roxanne. “I don’t think he really respected her intellectual ambitions. It felt important to me that we give her the agency, the smarts, the power and the voice that she lacked in that original version. So we worked very hard at trying to realize that.”

Even the odious De Guiche gets to have his say in “What I Deserve.” But the most moving musical number, “Wherever I Fall,” is sung by none of the main characters, but by a trio of nameless soldiers, including one played by Glen Hansard, who join Cyrano and Chrisitan in battle. Viewers should have the tissue on standby as all of the men face their mortality. According to Wright, the scene was shot on Mount Etna in Italy during a snowstorm, which adds an extra something to the atmosphere. “Cyrano” is visually impressive throughout, not just because of its set and costumes, but also because of the lyrical dance numbers, but it is this final battle that really strikes a chord.

Wright and Schmidt do make an unfortunate choice when it comes to the epilogue of the film, which takes place three years after the battle, as opposed to 15 years in the original play. It is still tragic, but lacks the piercing sadness that made it so terribly memorable. 

“Cyrano” releases Feb. 25 in theaters nationwide.