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Although Branagh depicts Hero and Claudio as very much in love, the text of the play does not seem to provide convincing evidence of strong feelings between these characters. At the beginning of the play, Claudio expresses his admiration for Hero by calling her a jewel and the sweetest lady that ever I looked on (Shakespeare 24). He is attracted by Heros appearance and modesty, and he explains that, before the war, he regarded Hero with lust, but after the war, he developed soft and delicate desires (Shakespeare 26). However, when Don Pedro expresses his intention to arrange for the couples marriage, Claudio is uncertain and does not want to make haste, and yet agrees to Don Pedros plan. Further, there is a demonstrative example of Claudios weak feelings toward Hero. Although Claudio is aware of Don Pedros plan regarding Hero, Claudio believes Don Johns words that Don Pedro wants Hero for himself. Instead of struggling for his love in this situation, Claudio gives up, saying: Tis certain so, the Prince woos for himself and Farewell, therefore, Hero (Shakespeare 36). Thus, Claudios love is superficial, which explains his subsequent behavior.
As for Hero, she talks very little in the first few acts, so it is difficult to track her feelings. When the marriage is arranged, and Hero is asked to say something in response to Claudios declaration of love, she tells him in his ear that he is in her heart (Shakespeare 40). Heros character and feelings toward Claudio are revealed in Act 3, scene 4. It seems that she is more concerned about marrying successfully than about her love for Claudio. While choosing a wedding dress, she asks God to allow her to wear it since her heart is heavy, and her chambermaid Margaret replies that it will be heavier when Hero is under her husband. Act 3, scene 4, shows that Hero is a modest lady, as opposed to the other women, but Branagh might want to remove it because it is not dynamic and has many dirty jokes. This scene changes the audiences view of the wedding in Act 4 and the resolution of the play in Act 5 since it makes the audience understand the absurdity of accusations against Hero and sympathize with her.
Work Cited
Shakespeare, William. Much Ado About Nothing: A Comedy in Five Acts. Walter H. Baker & Co., 1916.
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