Learning Guide to Roxanne:
Subjects: Comedy/U.S.; love story; Adaptation of Classic French
play;
Social-Emotional Learning: Romantic relationships; Self-esteem;
Moral-Ethical Emphasis: Respect, Honesty;
Age: 12+; MPAA Rating—PG; Comedy; 1987, 107 minutes;
Color; Available from Amazon.Com.
Note to teachers: Roxanne is a romantic comedy, often used as a
reward movie, which offers teachers an opportunity to enrich their
students’ study of both literature and film. The following guide
can be used in several ways: the film alone serves as a basis for
assignments that exercise several of the standards important in
English Language Arts; by following Roxanne with the 1950
version of Cyrano de Bergerac, with its black and white artistry or
the 1990 remake, teachers can introduce students to film history;
and by exposing students to the classic play from which both films
were inspired, teachers can enrich the study of drama as well as the
art of adaptation. For a complete Guide to the 1990 remake of
Cyrano, click here.
Description: Steve Martin created Roxanne in a loose adaptation
of the story of Cyrano de Bergerac, first told in the 1897 play by
French author Edmond Rostand and adapted to film in 1950 and
again in 1990. The story's value, in each of its incarnations, lies in
its presentation of the conflict between style and substance: the fact
that the outward appearance of an individual often masks what lies
inside. C.D. Bales, (Charlie) an unattractive man with a huge nose,
is blustery and brash, yet inside he is beautiful. His rival, Chris, is
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physically beautiful, yet shallow and dull. As in the story of
Cyrano, Charlie writes the lines and speaks the words that seem to
be coming from Chris. Roxanne quickly grows to love the
beautiful man because of what she perceives to be his intellect and
soul. Ultimately, the deception fails.
Benefits of the Movie: Roxanne, with or without the play and the
films from which Steve Martin adapted his script, gives young
people a lighthearted opportunity to work through important issues
they face in a culture driven by images from mass media which
place undue emphasis on outward appearance. Using Martin’s
unique comedic style, the film provokes thought about the pain felt
by those who do not measure up to society’s conception of what
defines beauty and how they may seek to compensate for their
perceived ugliness or disfiguration. The movie also addresses the
moral implications of deception used to shape and twist affection.
An interesting aspect of Roxanne which varies considerably from
the two film versions of Cyrano de Bergerac is the development of
the female lead. In both movies, as in the play itself, the woman
named Roxanne is one dimensional. She is beautiful, but lacks
depth; an object rather than a subject. In Martin’s remake,
Roxanne is an intelligent woman, working on her doctorate in
astronomy. She is independent and self directed possessing a
facility with language and wit that rivals her counterpart. Charlie
appreciates and acknowledges her substance and character.
In Rostand’s play and in both the 1950 and 1990 film adaptations,
Cyrano dies after visiting Roxanne who had sequestered herself in
a convent following the death of her lover in battle. In the last
moments before he dies, the truth is known and Roxanne lives on
knowing she lost the love of her life first in the person of Christian
and again in the person of Cyrano. Thus, there is no clear
resolution of the problem of deception and no opportunity to
understand and forgive; the emphasis is on sacrifice and nobility.
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Martin’s film offers resolution and the opportunity for each
character to develop and to live by honest and ethical standards.
His characters are credible and coherent and illuminate the painful
movement from awkwardness to intimacy.
Background Information:
Charlie, the protagonist of Roxanne, is, as his initials C.D.B.,
suggest, an allusion to the character of Cyrano de Bergerac, about
whom Rostand based his 1897 play. The Cyrano of this play was
fashioned after a real person, Savinien Cyrano de Bergerac (1619 1655), a French duelist and satirist who is credited with writing
some of the earliest works of science fiction. De Bergerac was
born in 1619 in Perigord, a province in southwest France. As a
child he was the subject of ridicule by children due to his
prominent nose. De Bergerac joined the French army and fought
against the Spanish at Arras. He left the military in 1642 to study
science and literature in Paris. Rostand’s play, referred to as a
heroic comedy, was a huge success when produced in 1897 and,
although important in academia ever since, was brought to the
attention of modern audiences with the film adaptations done in
1950 and 1990. Considered a virtuoso play, one in which focus of
character is paramount to story, Cyrano was easily adapted to the
skills of actors Jose Ferrer in the earlier version and Jean
Depardieu in the later production. Both films are excellent. Steve
Martin’s performance in Roxanne replicates the virtuoso aspect of
the original play; through his mastery of physical comedy and
timing, he dominates the film. Martin also wrote the screenplay
and served as the executive producer.
In a 1996 release of Audrey Wells’ film, The Truth about Cats and
Dogs, the Cyrano story is again visited with a twist that may be of
interest to students who want to look further into the ideas
presented in Roxanne. Wells reverses the gender roles of the main
characters and addresses the issues associated with the fears of
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being found unworthy as they affect women. The Cyrano or
Charlie character in her film is a woman with weight problems
whose best friend is a striking and slender beauty. Students might
be encouraged to see this film and to report to the class the various
ideas developed from notions introduced in Roxanne or in the
earlier film versions of Cyrano de Bergerac.
Irony:
<blockquote> In the story of Cyrano, told in the play and in the
movies, irony is the dominant literary tool. For a brief student
handout on the nature of drama, click here. The substance of the
handout is recreated below. Alternatively, you may offer this
information in a lecture or as a reading.
</blockquote>
There are three different types of irony. Each relates to a difference
between what is perceived or expected and what occurs. The
different types of irony are described below:
(1)
Situational irony occurs when there is a difference
between what happens and what we expect to happen or what
we think should happen. An example of situational irony in
fiction is contained in the story of the frog who, when kissed
by the princess, becomes a handsome prince. We do not
expect that kissing an ugly slimy thing that lives in a swamp
and eats flies will bring forth a beautiful young man. In
fiction, irony usually points to a theme or moral in the story.
Situational irony is often used in comedy and satire because,
when skillfully used, it quickly exposes the truth.
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(2) In a work of fiction, dramatic irony occurs when an
author creates a contrast between the reality perceived by one
or more of the characters and what is known by the audience
or the reader. This happens when the audience/reader has
greater knowledge about present or future circumstances than
the characters in the story. The classic example of dramatic
irony is contained in Oedipus Rex. Oedipus has killed a man
who was a stranger to him. Later, he unknowingly meets and
marries the dead man's widow. The audience knows that the
dead man was Oedipus' father and that his new wife is his
mother. Only later does Oedipus learn these facts, with tragic
results. As with situational irony, dramatic irony usually
points to a theme or moral lesson.
(3) An ironic statement is one in which there is a significant
difference between what is said and what is meant. Often the
intended meaning is the opposite of the literal meaning of the
words used. Ironic statements can be either
&quot;facetious&quot; or &quot;sarcastic&quot;. A
facetious comment is one in which the point is to make a joke
or a humorous reference. Sarcasm is used to taunt, insult, or
cause pain. Facetious statements and sarcasm are often very
similar. The identity of the speaker, the tone used, and the
context can determine whether a statement is facetious or
sarcastic. A person who likes a lot of sugar with their coffee
might say, facetiously, "I like a little coffee with my sugar"
as he pours an astounding amount of sugar into a cup of
coffee. However, a person who wanted to taunt the coffee
drinker would say, "You like a little coffee with your sugar,
don't you."
Irony is central to the appeal of the Cyrano story. The dominant
irony is that while Cyrano/Charlie is ugly on the outside, on the
inside he has many admirable attributes including intelligence,
humor, kindness, friendship and understanding.
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Other examples of irony in the Cyrano story are as follows:



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
Christian/Chris in contrast to Cyrano/Charlie looks beautiful
but when he opens his mouth what comes out is far from
beautiful.
Roxanne is attracted to Christian/Chris for his looks but
comes to really love him because of the beautiful words and
images written by Cyrano/Charlie, a physically unattractive
person.
Cyrano/Charlie is confident in most situations but in regards
to the most important thing in his life, love for Roxanne, his
fear of rejection prevents him from acting to attain happiness.
Cyrano/Charlie insists that everyone else ignore his
deformity but thereby keeps the consciousness of it in
everyone's mind; nor can he forget it for a moment.
Cyrano/Charlie exerts considerable effort to make up for
ugliness by wit and physical prowess yet he doesn’t even try
for something that means more than anything else, i.e.
Roxanne.
In &quot;Roxanne&quot;, there is a delightful tribute to the ironic
content of the story: Martin asks Roxanne a question and she
responds in the negative. He accepts her answer and later she tells
him she was being ironic. He says that they have no irony in his
town so he did not recognize it.
Use of Roxanne in the English Language Arts Classroom:
Prior to showing the film, select students to read aloud the parts of
the play listed below. Take care to select students with the skills
necessary to hold the attention of the class. Drama requires skilled
readers.
Act I, Scene IV: In this scene, Cyrano is introduced. He comes
into a playhouse and disrupts the performance with his insistence
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that the actor has no talent and thus has no right to be on stage.
Cyrano bullies the performers and the audience. One man insults
him by commenting on his nose and Cyrano replies with a series of
jests that put to shame the witlessness of the man’s insult.
Act II, Scene VI: In this scene, Roxanne, Cyrano’s beautiful
cousin, tells Cyrano that she loves a young recruit who will serve
in his regiment. She asks Cyrano to protect the man. Cyrano is
crushed, having expected that Roxanne would express interest in
him.
Act II, Scene VIII: This scene, though not duplicated in Martin’s
film, referred as his &quot;No Thank You&quot; speech,
expresses Cyrano’s individualism. It is important to hear as it
establishes Cyrano’s character. Martin’s film reveals character in
other ways.
Act III, Scenes IV, V and V1: Here Cyrano is under the balcony,
speaking the words that Chris cannot find to express his affection
for Roxanne.
Act V, Scenes IV and V: Fourteen years after Christian has died
in battle and after Cyrano has been wounded in an attempted
murder, Roxanne and Cyrano meet in her convent and the truth is
learned. Cyrano then dies.
Once students have heard the scenes, they will be aware of the
characters and conflicts that shape the story.
Show Roxanne in its entirety. Ask students to pay attention to the
flow of the film and to try to find how Steve Martin has woven into
his comedy the scenes from the play that were read in class.
After the film has ended, students will know the differences
between the way the story ends in the play as opposed to the film.
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Engage students in the following Discussion Questions, the first
five of which pertain only to &quot;Roxanne&quot;.
1. What is it about the character of Charlie that allows the viewers
to appreciate him in spite of his bullying and violence? Suggested
response: Charlie’s heart comes through in scenes such as when he
is on the roof with the boy who had been hurt by the teasing of
other children. At the end of the film, when Roxanne seeks to
resolve their problem, he is seen on the roof acting in the same
manner as the little boy of earlier in the movie. This shows his
sensitivity. Moreover, Charlie is admired by others, has a sense of
humor, and seems gentle in spite of his bravado. In an echo of his
list of witty insults about the size of his nose, in one scene, he takes
a parakeet out of its cage and allows it to perch on his nose,
showing a soft and self-deprecating nature. Also, the film’s
violence is comic in its presentation and thus not taken seriously.
The tennis racket Charlie uses to beat the two athletes who had
insulted him is a humorous echo of the saber used by Cyrano in the
play and the films.
2. Why does Charlie go along with the deception that enables
Chris to have an intimate relationship with Roxanne and what does
this say about his moral code? Suggested response: Charlie feels
deep affection for Roxanne and wants her to be happy. He has no
confidence that Roxanne will ever love him. The deception shows
that he is willing to sacrifice the principle of honesty in order to
make her happy.
3. Chris and the cocktail waitress develop a relationship and leave
together for Reno. Why does this relationship work? Suggested
response: The two are suited intellectually and Chris does not feel
nervous in her presence. She thinks he is funny, smart and well
traveled. He does not have to pretend to be something he is not.
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4. Roxanne is willing to forgive Charlie for the deception and he is
willing to forgive her for easily being deceived by Chris’ beauty.
What does this say about these two characters? Suggested
response: Answers will vary. Students may decide that neither
character has any depth or that love conquers all.
5. Which of the film’s characters is most grounded in principle?
Suggested response: Dixie, the proprietor of the local café, is
honest, loyal and willing to risk disapproval in order to have the
truth known. She is a true friend to both Charlie and Roxanne.
6. In the reading from the play, Cyrano disrupts the performance
showing his bullying nature. How does the film reveal the pushy
side in Charlie’s personality? Suggested response: Charlie fights
with two tennis players and intimidates his crew at the firehouse.
7. In the reading from the play, Cyrano lists a series of insults that
are superior to the one used by his opponent. The scene ends in
violence as the two men duel. How effectively did Martin translate
this scene into Roxanne? Suggested response: Martin updates
many of the quips, making them funny to a modern audience and
finally knocks out his opponent who falls to the floor. In the play,
the opponent is injured and carried off stage. In each case, the
protagonist is seen as justified in his behavior and cheered by the
onlookers.
8. Both Cyrano in the play and Charlie in the film are encouraged
by a friend to tell Roxanne the truth but at the moment of
opportunity, both men have a crisis of confidence and fail to follow
through. What does this say about their courage? Suggested
response: Although both men are fearless and independent
leaders, they are afraid of rejection and are not brave enough to
risk being laughed at by Roxanne.
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9. In the original play, Cyrano dies at the end with his love having
remained unrequited. Roxanne, however, ends joyfully with each
character, including Chris, having learned important lessons which
were not applicable to the earlier incarnations of the story. What
are these lessons? Suggested response: Charlie learns that the
risks of rejection associated with earning love are worth taking and
he sees the pain caused by deception. Roxanne learns the absurdity
of being charmed by superficiality and becomes more aware of her
own tendency to value surface over substance. Chris learns that he
is not nervous in a relationship based upon equal interests and
matched characteristics, as he develops a potentially viable
relationship with the cocktail waitress.
Assignments and Assessments:
1. Have students read Beauty and the Beast and The Ugly
Duckling. Tell them to seek the original versions of the tales rather
than a children’s abridged version or a Disney rewrite. Ask them to
write an essay in which they show allusions to the ideas in each of
these stories as found in Roxanne. Tell them to focus on themes,
rather than characters or plot line.
2. Ask students to see “Can’t Buy Me Love” and to write a
comparison of the characters, ideas and resolutions that can be
found in both this 1980’s teen classic and in Roxanne.
3. Have students do a thorough study of the many ironies found in
Roxanne in which they describe the irony, define its type and
explain its use in terms of clarifying character, event or idea in the
film.
4. If time has not been taken to view either version of Cyrano de
Bergerac in class, ask students to select one to see on their own and
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to write an essay in which they compare the version they chose to
Martin’s Roxanne.
5. Ask students to write a persuasion essay in which they seek to
convince their readers that Charlie is to be commended for his selfsacrifice and his efforts to bring Chris and Roxanne together or,
rather, to be criticized for what can be seen as reprehensible deceit.
6. Have students write a comparison of the insults delivered by
Cyrano in Act I, Scene IV of the reading done in class with the
jests hurled in the bar scene in Roxanne. Tell them to comment on
how the changes in the two sets of jibes may appeal to two very
different audiences.
7. Ask students to write a personal narrative about a time when
they may have felt less adequate in a particular circumstance than
those around them, possibly in an audition or in taking a test. See
that they end the narrative with a lesson learned or a lesson that
might have been learned.
8. Ask students to evaluate the endings of Cyrano de Bergerac and
Roxanne in terms of their credibility, level of satisfaction and
devotion to theme. They need to think about whether having a
resolution, as does Roxanne, may be better or not as good as
simply winding down the story to a death. For example, does
Cyrano learn the lesson that self-love is an important step toward a
romantic relationship or does he die adhering to the spirit of self
sacrifice?
9. Students who have seen either version of Cyrano de Bergerac as
well as Roxanne, can be expected to analyze the tone of each
presentation of Cyrano’s story. Ask them to write an essay in
which they evaluate the dark and serious tone, although mitigated
by personal humor and panache of Cyrano, in the early film as
opposed to the light, yet pithy elements of Roxanne.
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10. Have students research the real Cyrano de Bergerac and to
present a brief account of his actual life and to include excerpts of
some of his writing to the class.
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