Count of Monte Cristo With Richard Chamberlain Reviews
Reviews
The Count Of Monte Cristo
May contain spoilers
"The Count of Monte Cristo" is a movie that incorporates piracy, Napoleon in exile, betrayal, solitary confinement, secret messages, escape tunnels, swashbuckling, comic relief, a treasure map, Parisian high guild and sugariness revenge, and brings it in at under two hours, with performances by good actors who are clearly having fun. This is the kind of adventure moving picture the studios churned out in the Golden Historic period--so traditional it almost feels new.
Jim Caviezel stars, every bit Edmund Dantes, a low-built-in charlatan betrayed past his friend Fernand Mondego (Guy Pearce). Condemned to solitary confinement on the remote prison island of Chateau d'If, he spends years slowly growing mad and growing his hair, until one day a remarkable thing happens. A rock in his jail cell flooring moves and lifts, and Faria (Richard Harris) appears. Faria has even more than hair than Dantes, simply is much more cheerful considering he has kept up his hope over the years by digging an escape tunnel. Alas, by excavation in the incorrect direction, he came up in Dantes' cell instead of outside the walls, but c'est la vie.
"In that location are 5,119 stones in my walls," Dantes tells Faria. "I have counted them." Faria can call back of better means to laissez passer the time. Enlisting Dantes in a renewed tunneling effort, he also tutors him in the physical and mental arts; he's the Mr. Miyagi of swashbuckling. Together, the men study the philosophies of Adam Smith and Machiavelli, and the old man tutors the younger one in what looks uncannily like martial arts, including the power to move with blinding speed.
This middle section of the moving picture lasts long enough to suggest information technology may also provide the end, but no: The third human activity takes place dorsum in gild, after Faria supplies Dantes with a treasure map, and the resulting treasure finances his masquerade as the fictitious Count of Monte Cristo.
Rich, enigmatic, mysterious, he fascinates the aristocracy and throws lavish parties, all as a snare for Mondego, while renewing his dear for the cute Mercedes (Dagmara Dominczyk).
The story of course is based on the novel by Alexandre Dumas, unread by me, although I was a close pupil of the Classics Illustrated version. Director Kevin Reynolds redeems himself later "Waterworld" by moving the action along at a crisp pace; we can imagine Errol Flynn in this textile, although Caviezel and Pearce bring more confidence to it, and Luis Guzman is droll as the count'south loyal sidekick, doing what sounds vaguely similar 18th century standup ("I swear on my expressionless relatives--and even the ones that are not feeling so skillful").
The diverse cliffs, fortresses, prisons, treasure isles and chateaus all look suitably atmospheric, the fight scenes are well choreographed, and the moment of Mondego's comeuppance is nicely milked for every ounce of sweet revenge. This is the kind of flick that used to be right at domicile at the Sat matinee, and information technology even so is.
Footnote (read no further if you program to run across the movie) : In that location is one logistical particular that mystifies me. Subsequently Faria is killed in a cave-in, Dantes arranges for his dead trunk to exist institute, and then substitutes himself for the corpse, is carried out of the prison and finds his freedom. All very well. Just why, given the realities involved and the need to brand haste, does Dantes become to the trouble of moving Faria's corpse to Dantes' own cell--thus supplying a premature warning of the switch, and betraying the fact of the tunnel'south existence? If he is recaptured, that tunnel might come in handy.
Roger Ebert
Roger Ebert was the moving picture critic of the Chicago Sun-Times from 1967 until his decease in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.
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The Count Of Monte Cristo (2002)
118 minutes
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