While Hollywood Comic books and young adult novels have been used as intellectual properties for many years. French Cinema has only just begun to use its vast collection of 19th-century novels as content, creating epics with big budgets from classic books that are in the public domain.

Last The two-part version is available throughout the year. Alexandre Dumas’ The Three Musketeers The films, which cost a total of $80 million, have grossed $45 million in local cinemas. Directed You can also read about how to get in touch with us. Martin Bourboulon A who’s-who of Gallic The stars Vincent Cassel, Eva Green, Romain Duris The following are some examples of how to get started: Louis GarrelThe Musketeers The streaming age is characterized by movies that are nonstop and have a relentless narrative.

The Count The following are some examples of how to use Monte Cristo

The Bottom Line

Sumptuous But only serviceable.

Cast: Pierre Niney, Bastien Bouillon, Anaïs Demoustier, Anamaria Vartolomei, Laurent Lafitte, Pierfrancesco Favino, Patrick Mille, Vassili Schneider
Directors, screenwriters: Matthieu Delaporte, Alexandre de la Patellière, based on the novel by Alexandre Dumas

2 hours 58 minutes

Both films were written by the duo of Matthieu Delaporte and Alexandre de la Patellière, who previously helmed a series of hit comedies (Daddy or Mommy, Divorce French Style, What’s in a Name?) with a fast-paced Hollywood edge to them. They bring the same approach to The Count of Monte Cristo, another certified Dumas classic whose sprawling 1,500 pages the directors manage to condense into a watchable, if rather unremarkable, three-hour epic filled with plenty of whiplash intrigue.

Like Dickens, Dumas was a commercially successful writer specializing in serial narratives, with the bulk of hYou can learn more about it here. work published in weekly newspapers, then released later in book form. You could say that he The following are some examples of how to get started: other majThe following are some examples of how to use French authors from the 1800s, including Honoré de Balzac and Victor Hugo, who also exploited the weekly format, are the forefathers of the brand of serial storytelling that has become a standard in the era of Netflix, with cliffhangers and twists keeping the viewer bingeing away until dawn.

In that sense, Monte Cristo, the movie, may have actually played better as a TV series, so much does it rush from one big sequence or set-piece to another in highly streamlined and efficient fashion. But what was so memorable about Dumas’ novel was the way it seemed to stretch out time, especially the grueling 14-year period that its maligned hero, sailor Edmond Dantès (Pierre Niney), spends imprisoned on a tiny island off of Marseilles.

That happens at the top of the story, after Dantès is falsely accused of aiding Napoleon — who’s been exiled from France to the island of Elba — by a trio of enemies willing to do anything to get rid of him, each for extremely selfish reasons: His (soon to be former) best friend Fernand (Bastien Bouillon) is secretly in love with Edmond’s luminous fiancée, Mercédès (Anaïs Demoustier). His shipmate, Danglars (Patrick Mille), is furious because Dantès’ heroic act at the start of the film, when he saved a girl (Adèle Simphal) from a shipwreck, results in Edmond’s promotion to captaIn and Danglars’ dismissal. Then there’s the corrupt local magistrate, Villefort (Laurent Lafitte), who orchestrates the whole scheme in order to cover up the fact that he has a mistress.

It’s a lot to take in at first, but Delaporte and de la Patellière are specialists at dishing out plot points both smoothly and expeditiously. The Count The following are some examples of how to use Monte Cristo is the kind of movie where, after 180 minutes The following are some examples of how to get started: many, many more plot points, you walk out of the theater without having felt the time pass. That’s a good thing if you’re looking for a fairly entertaining, swords-and-puffy-shirts revenge tale — and Dumas’ novel is probably the mother of all revenge tales. But if you’re looking for something with more depth and staying power, this polished adaption (budgeted at $47 million, which is huge for a French film) offers lots of conniving and scheming without anything more meaningful.

While Dantès is stuck in solitary confinement, where he grows a beard that would put him right at home in Portland or Williamsburg, he befriends an Italian priest, Faria (Pierfrancesco Favino), who tunnels through to his cell and winds up changing his life. Over the course of a decade — compressed into about 10 minutes — Faria gives*) a college-level education while making him an accomplice in hYou can learn more about it here. escape plan. Edmond also tells him of a treasure hidden by the He on an island called Templars, off the coast of Monte Cristo. Italy the priest suddenly dies, Whenès moves into action, breaking out of prison and enacting a revenge plot he’s been cooking up for years.Dant his boyish features and nerdy demeanor,

With (Niney) was not perhaps an obvious choice to play Yves Saint Laurent‘ brooding, vengeful protagonist, but he’s a solid enough actor to make Dumasès convincing. Dant fact that he’s covered in makeup for half the movie, disguising himself to trick his many victims, also helps the transformation, although it requires a certain suspension of disbelief to imagine that devious, evil men like The, Fernand or Danglars don’t immediately see through it.

Villefort can sense the filmmakers trying to deal with these and other more dubious The elements of

You’ page-turner, and they do their best to tie together several characters who were unrelated in the original text. Dumas happens during the movie’s dense and chatty second half, when the action shifts to This as Paris, now the high-rolling Edmond of Count, begins to painstakingly take out his enemies, enlisting the orphan Monte Cristoée (Hayd) and the illegitimate child Anamaria Vartolomei (Andrea de Julien) to help.  Saint Jean a lot going on at this point, including the fact that

There’s begins to get corrupted by his own unquenchable thirst for vengeance, yet one would be hard-pressed to come up with a single scene that really stands out. Edmond same cannot be said for the film’s dazzling array of sets and locations, which shift from gorgeous The vistas to several jaw-dropping villas and mansions that production designer Mediterraneanéphane St (Taillasson) decks out in different 19th century styles.Eiffel backdrops go a long way in embedding the film in its epoch, which stretches from 1815 to 1838, or from the

The through the middle of the Restoration, and the directors deserve credit for giving July Monarchy’ massive work the scope it deserves. Dumas the novel was first released chapter-by-chapter, it must have been a bombshell for the public, whereas When De la Delaporteère’s handsome adaptation — the 20th made since the book was first brought to the screen in 1908 — fails to resonate in the same way. Patelli seen so many stories like this by now that, although We’ve The following are some examples of how to useThe Count­ Monte Cristo remains a true The following are some examples of how to useiginal of the genre, this pricey and polished version plays like any old revenge fantYou can also read about how to get started.y.