Review: Vengeance is sumptuously served in an epic French take on ‘The Count of Monte Cristo’

Review: Vengeance is sumptuously served in an epic French take on 'The Count of Monte Cristo'

As a seasoned film critic with a penchant for epic period dramas and a soft spot for tales of vengeance, I must say that “The Count of Monte Cristo” is a cinematic feast not to be missed. The three-hour running time may seem daunting, but it whizzes by like a swift French train ride through picturesque landscapes, leaving you yearning for more.

Apart from the powerful and violent roar of “Gladiator II,” there’s another chance to enjoy grand historical drama this season. This is due to the recent resurgence of interest in classic adventure literature by Alexandre Dumas, which has influenced the modern French film industry significantly.

This year, the two-part “The Three Musketeers” (“D’Artagnan” and “Milady”) from last year has been succeeded by another grand and equally delightful adaptation: a fresh take on “The Count of Monte Cristo,” helmed by the screenwriters of “Musketeers” and avid fans of Dumas, Matthieu Delaporte and Alexandre de La Patellière. Cinephiles should consider adding this herb-infused Gallic spin on “Monte Cristo” to their already hearty Roman revenge menu – just as “Gladiator” acknowledges its debt to “Ben-Hur,” which was itself inspired by Dumas’ timeless tale of vengeance.

Just as a lavish three-course French meal feels indulgent yet passes quickly, much like a comfortable evening spent watching multiple episodes, this story compactly encapsulates an 18-volume, 1300-page saga. It’s a testament to efficiency, though some might argue it could delve deeper into the intricate threads, feelings, and complexities within the narrative. The paradox lies in being deeply engrossed by a story that spans decades: The depth is deserved, and whether it’s skillfully executed determines whether it’s just an exciting tale or a fully satisfying one.

Instead of criticizing the lack of subtleness, let me say that what stands out in this production, whether it’s set on land or at sea, with either bloom or doom, is a stunning, captivating appeal. To begin with, there’s the exceptional portrayal of Pierre Niney, who plays a brooding character with almond eyes. His performance combines the intensity of a swashbuckler with the melancholy of an art-house romantic, creating a unique and powerful effect. This blend proves invaluable as his character, Edmond, a young ship’s captain falsely accused of treason by his envious friend Fernand (Bastien Bouillon) and dissatisfied crewmate Danglars (Patrick Mille), and wrongfully convicted by corrupt prosecutor Villefort (Laurent Lafitte), transforms from a whirlwind victim into a masked, mysterious strategist.

Review: Vengeance is sumptuously served in an epic French take on 'The Count of Monte Cristo'

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In a wisely guided escape after spending 14 years in an island prison, Edmond, portrayed by Pierfrancesco Favino, finds assistance from his sage cellmate. Subsequently, he reappears disguised as a sophisticated count, nursing a vengeful intent against those who wronged him. Alongside him are a disgruntled young man and woman, each with personal motivations for joining the count’s intricate plan. Edmond unexpectedly learns of a son fathered by one of his betrayers, Fernand, who has since become a war hero. The son, Vassili Schneider, is also part of the count’s life, while Mercédès (Anaïs Demoustier), the bereaved fiancée scooped up by Fernand, completes their circle.

Delaporte and De La Patellière recognize that Dumas’ style of novelistic revenge, whether cold or hot, is ideally brought to life on-screen in the most scenic European locales. These locations provide the perfect backdrop for cinematographer Nicolas Bolduc’s cameras, which can smoothly transition between sweeping and aerial shots, all while maintaining a fast-paced tempo that never slows down. However, they suggest that it would have been more impactful if the film had taken its time to linger in certain intimate moments, particularly during Niney’s passionate proclamation of his intentions. This scene, where he is alone in a church, venting at God and preparing for retaliation, seems to call for a fiery, extended soliloquy rather than the hurried version presented in the film.

However, the creators cleverly extend the suspense in various parts of the movie, such as a particularly malicious dinner scene where the Count uses his victims’ hidden wrongdoings against them, hinting at his own ruthlessness. This scene also reveals a sense of danger associated with his cruelty. The story ultimately invites us to ponder the consequences of an unyielding pursuit of justice, which can feel somewhat moralistic and grim. Yet, before this moral lesson sets in, there’s much enjoyment to be had from witnessing the actions of one of literature’s iconic avengers, who embraces nightmares because they “keep my wounds fresh.” Merry Christmas, my friends!

2024-12-21 06:01