Five Favorite Episodes of “THE MUSKETEERS” Season One (2014)

061814musk

Below is a list of my five favorite episodes from Season One of “THE MUSKETEERS”, the BBC’s historical action-drama based on Alexandre Dumas, père‘s 1844 novel. Created by Adrian Hodges, the series stars Tom Burke, Santiago Cabrera, Howard Charles and Luke Pasqualino:

FIVE FAVORITE EPISODES OF “THE MUSKETEERS” SEASON ONE (2014)

1 - 1.09 Knight Takes Queen

1. (1.09) “Knight Takes Queen” – Musketeers Aramis and Athos are forced to protect Queen Anne from assassins hired by Cardinal Richelieu at a convent, after King Louis XIII expressed disillusion with the Queen’s inability to have children. Meanwhile, Porthos and d’Artangnan race back to Paris to gather more Musketeers to come to their aid.

2 - 1.06 Exiles

2. (1.06) “The Exiles” – Aramis and d’Artagnan try to protect a young woman and her baby, who are sought by armed men. Both mother and child are sought by both Cardinal Richelieu and the King’s treacherous the exiled Marie de’ Medici. Tara Fitzgerald and Amy Nuttall guest starred.

3 - 1.10 Musketeers Dont Die Easily

3. (1.10) “Musketeers Don’t Die Easily” – In the season finale, a rift develops between d’Artangnan and Athos, when the latter in a state of drunkenness takes his estranged wife Milady de Winter hostage and learns about her brief affair with the younger Musketeer.

4 - 1.05 The Homecoming

4. (1.05) “The Homecoming” – A drunken Porthos is framed for murder in his old neighborhood, Paris’ Court of Miracles slum. When his three colleagues seek to exonerate him, they stumble across a real estate conspiracy regarding the neighborhood.

5 - 1.02 Sleight of Hand

5. (1.02) “Sleight of Hand” – The Musketeers engineer d’Artagnan’s imprisonment in a cell with a notorious criminal named Vadim. The latter has a plan to use the visiting Queen Anne to escape and start a revolution. But his plans proved to be more criminal than political. Jason Flemyng guest starred.

Advertisements

“THE THREE MUSKETEERS” (2011) Review

“THE THREE MUSKETEERS” (2011) Review

Recently, I became aware of the BBC series called “THE MUSKETEERS” and became an instant fan. Due to my renewed interest in Alexandre Dumas père’s work, I decided to focus my attention on 2011’s “THE THREE MUSKETEERS”, the most recent adaptation of the author’s 1845 novel.

Produced and directed by Paul W.S. Anderson, this cinematic version of Dumas père’s novel, proved to be a different kettle of fish. Yes, screenwriters Andrew Davies and Alex Litvak managed to adhere to some aspects of the 1845 novel. The movie closely followed d’Artagnan’s first meeting with his future three friends – Athos, Aramis and Porthos – along with Captain Comte de Rochefort and Milady de Winter. The rivalry between the Musketeers and Cardinal Richelieu’s guard – led by Rochefort – remains intact. “THE THREE MUSKETEERS” also included a conspiracy created by Richelieu that centered around Queen Anne, Britain’s Duke of Buckingham and the former’s diamond necklace given to her by King Louis XIII.

But Davies and Litvak created changes to Dumas’ story. One, Milady de Winter begins the story working with the three musketeers to steal airship blueprints created by Leonardo da Vinci. In this scenario, Milady and Athos are long time lovers and not a married couple. Their antipathy begins when Milady betray her compatriots and gives the plans to Britain’s Duke of Buckingham. Her betrayal leads to the disbandment of the Musketeers. So, when d’Artagnan arrives in Paris to join the military unit, he is a year too late. Also, the Duke of Buckingham is portrayed more as a villain, since he is not The Constance Bonacieux is not only single in this story, but also one of the Queen’s ladies-in-waiting; instead of married and a royal seamstress. Also, there is no real affair between Queen Anne and Buckingham. But Cardinal Richelieu decides to create false rumors using the Queen’s diamond necklace and false love letters in order to discredit her. This would lead to Anne’s execution, a war against Britain and a demand by the people that a more experienced leader – namely Richelieu himself – would rule France. Alas, thanks to Constance, d’Artagnan and the Musketeers step up to save the Queen’s reputation and ruin Richelieu’s plans.

It would be difficult for me to deny that “THE THREE MUSKETEERS” is a beautiful looking film. Germany served as 17th century France and Great Britain in this film and Glen MacPherson really did justice to the shooting locations, thanks to his beautifully sharp and colorful photography. MacPherson’s photography also did justice to Paul D. Austerberry’s production designs, whose re-creations of 17th century France and England struck me as spot on. Both MacPherson and Austerberry’s work benefited from Philippe Turlure’s set decorations and the art direction team of Nigel Churcher, Hucky Hornberger and David Scheunemann. But what really dazzled me about “THE THREE MUSKETEERS” were Pierre-Yves Gayraud’s s costume designs. Personally, I found them worthy of an Oscar nomination. Below are three images just to prove my point:

the threemusketeers1

mcdthmu-ec051-h-1805913_0x420

pjjg03ubrkkbieuqi1h5

There are aspects of “THE THREE MUSKETEERS” that did not exactly impress me. First of all, the chemistry between the four leads seemed a bit off. One might blame Logan Lerman, who was the only American in the team. But I had no problems with his chemistry with both Matthew MacFadyen and Ray Stevenson. And Luke Evans had a nice chemistry with both MacFadyen and Stevenson, despite his subdued take on his role. And I cannot blame MacFadyen, who seemed to be the odd man out as a screen swashbuckler. I am not saying that all four men – Lerman, MacFadyen, Evans and Stevenson – had no chemistry whatsoever. There was some inclination of a screen chemistry. But . . . their chemistry as the four musketeers never struck me as dynamic than in other versions I have seen.

Another major problem I had with the movie proved to be Davies and Litvak’s re-writing of the Milady de Winter character. I had no problem with Milady starting the movie as colleague of Athos, Aramis and Porthos. I had no problem with her being Athos’ lover, instead of his estranged spouse. I did have a problem with Milady being written as some kind of action woman. Many of her scenes featured actress Milla Jovovich engaged in some acrobatic stunt at a great height. I understand why. Both Jovovich and Anderson (who are married, by the way) are known for the “RESIDENT EVIL” movies, in which the actress had starred as the main protagonist. For some reason, the couple and the two screenwriters seemed to believe it was necessary to transform Milady into a female action figure. In doing so, all four robbed the Milady of the subtle villainy that made her such a memorable character in the novel and in other adaptations. I almost got the impression that Anderson and the screenwriters did not believe Jovovich lacked the ability to portray a seductive and manipulative villainess. Yet, one scene between Jovovich and actor Christoph Waltz (who portrayed Cardinal Richelieu) made it clear to me that the actress could have been a very effective Milady de Winter without resorting to countless number of stunts and other action scenes. Hmmm . . . pity.

Despite these misgivings, I must admit that I enjoyed “THE THREE MUSKETEERS”. Much to my utter surprise. When I first saw the film, I was ready to reject it after the Venice sequence. The idea of Milady working with Athos, Aramis and Porthos on a mission in Venice was not how I recall previous adaptations of Dumas’ novel. But I gave it a chance and decided to finish the film. And I enjoyed it. Actually, there were aspects of the movie that made it enjoyable for me. Aside from the movie’s visual style and costumes, I enjoyed how Davies and and Litvak put a different spin on Dumas’ story arc about Queen Anne’s diamond necklace. I was also both surprised and impressed at how they utilized the heist movie trope in two major sequences – the opening scene in Venice and the Musketeers’ attempt to get their hands on the diamonds, which were stolen by Milady and planted inside London’s Tower of London.

Davies and Litvak’s screenplay displayed a nice sense of humor. This was apparent in the personalities of three major characters – Porthos (who has been the comic relief of nearly all versions of Dumas’ tale), King Louis XIII and surprisingly, the Duke of Buckingham, along with d’Artagnan’s first meetings with his future three friends. The movie also featured some excellent action sequences. My favorite include the Musketeers and d’Artagnan’s fight against Rochefort and the Cardinal’s guards, the four friends’ heist of the diamond necklace from the Tower of London, and their final showdown against Rochefort and his men upon their return to Paris. This last sequence featured an outstanding duel between d’Artagnan and Rochefort that in my opinion, rivaled the duel between the two characters in 1974’s “THE FOUR MUSKETEERS”.

I still stand by my belief that the chemistry between the four actors who portrayed the Musketeers and d’Artagnan was not as strong as it had been in other productions. But the movie did featured some solid performances from the four actors. Ray Stevenson displayed his usual talent for comedy in his performance as Porthos. Honestly, I think his comic skills are highly underrated. Luke Evans gave a decent performance as Aramis. However, I do wish he could have displayed a little more élan in his portrayal of the usually dashing womanizer. Matthew Macfadyen did a skillful job in portraying Athos’ brooding nature and role as the group’s leader. But I got the feeling that he was not the type of actor I would cast in a swashbuckling film. Of the four actors, he never struck me as the swashbuckling type. It is odd that I would say this about Macfadyen and not Logan Lerman, who portrayed d’Artagnan. But the thing about Lerman is although his looks strike me as mediocre and he seems to be the shortest of the four leads. Yet, once he opens his mouth and move, he becomes a bundle of energy with a good deal of style and panache. Curious.

Despite my complaints by Anderson and the screenwriters’ attempt to turn Milady de Winter into an action queen, I must say that I still managed to enjoy Milla Jovovich’s performance. She is the only actress I know who conveyed the spy’s seduction skills with a good deal of sly humor. Christoph Waltz did a solid job as the villainous Cardinal Richilieu. But I must admit, I did not find his performance particularly memorable or energetic. I can also say the same about Gabriella Wilde, who portrayed Constance Bonacieux. I hate to say this, but I found her performance somewhat wooden. On the other hand, Juno Temple gave a very charming performance as Queen Anne (formerly of Austria). Not only did she give a charming performance, she also conveyed a good deal of the Queen’s strength of character.

I really enjoyed Mads Mikkelsen’s portrayal of Captain Rochefort. The Danish actor did an excellent job of conveying Rochefort’s subtle menace and talent for intimidation. Orlando Bloom proved to be quite a surprise as the villainous Duke of Buckingham. He was very funny in a sly, yet theatrical way. James Corden also gave a funny performance as Planchet, the Musketeers’ long suffering manservant. But the funniest performance came from Freddie Fox, who portrayed the rather young King Louis XIII. What can I say? He was hilarious in his portrayal of the King’s insecure nature and lack of experience as a leader. In fact, I believe he gave the best performance in the movie.

What else can I say about “THE THREE MUSKETEERS”? It is not particularly faithful to Alexandre Dumas père’s novel. But to be honest, I do not really care. In my opinion, the movie’s lack of adherence to the novel was not a weak point. The worst I can say about the movie is that the chemistry between the four actors portraying the Musketeers was not particularly strong. I did not care for the use of 17th century airships in this story. And I was not that impressed by the movie’s tendency to portray Milady de Winter as an action figure. On the other hand, I still managed to enjoy the screenplay written by Andrew Davies and Alex Litvak, along with Paul W.S. Anderson’s direction. And the movie also featured some strong performances – especially from Logan Lerman, Juno Temple, Orlando Bloom and Freddie Fox. In the end, I still enjoyed the film, despite my initial reservations.

Favorite Films Set in the 1830s

16077062_854b_1024x2000

Below is a list of my favorite movies (so far) that are set in the 1830s:

FAVORITE FILMS SET IN THE 1830s

1. “The Adventures of Huck Finn” (1993) – Elijah Wood and Courtney B. Vance starred in this excellent Disney adaptaion of Mark Twain’s 1885 novel about a young Missouri boy who joines a runaway slave on a journey along the Mississippi River toward the free states in antebellum America. Stephen Sommers directed.

1- The Count of Monte Cristo 2002

2. “The Count of Monte Cristo” (2002) – James Caviezel starred as the vengeful Edmond Dantès in Disney’s 2002 adaptation of Alexandre Dumas, père’s 1844 novel. Directed by Kevin Reynolds, the movie co-starred Guy Pearce and Dagmara Dominczyk.

2 - Pride and Prejudice 1940

3. “Pride and Prejudice” (1940) – Greer Garson and Laurence Olivier starred in this entertaining adaptation of Jane Austen’s 1813 novel. Robert Z. Leonard directed.

3 - The Count of Monte Cristo 1975

4. “The Count of Monte Cristo” (1975) – Richard Chamberlain gave an intense performance in the 1975 television adaptation of Dumas’ novel. Tony Curtis and Kate Nelligan co-starred.

4 - Impromptu

5. “Impromptu” (1991) – Judy Davis and Hugh Grant starred in this comedic tale about author George Sand’s pursuit of composer Frédéric Chopin in 1830s France. James Lapine directed.

5 - Amistad

6. “Armistad” (1997) – Steven Spielberg directed this account of the 1839 mutiny aboard the slave ship La Amistad and the trials of the Mendes tribesmen/mutineers, led by Sengbe Pieh. The movie starred Djimon Hounsou, Matthew McConnaughey, Morgan Freeman and Anthony Hopkins.

6 - Wide Sargasso Sea 2006

7. “Wide Sargasso Sea” (2006) – Rebecca Hall and Rafe Spall starred in this 2006 television adaptation of Jean Rhys’s 1966 novel, which is a prequel to Charlotte Brontë’s 1847 novel, “Jane Eyre”. It focused upon the early marriage of Antoinette Cosway (Bertha Mason) and Edward Rochester.

7 - My Cousin Rachel

8. “My Cousin Rachel” (1952) – Olivia de Havilland and Richard Burton starred in this adaptation of Daphne Du Maurier’s 1951 novel about a young Englishman’s obsession with his late cousin’s widow. Henry Koster directed.

8 - The Alamo 2004

9. “The Alamo” (2004) – John Lee Hancock directed this account of the Battle of the Alamo, the only production about the Texas Revolution that I actually managed to enjoy. The movie starred Billy Bob Thornton, Patrick Wilson and Jason Patric.

9 - The Big Sky

10. “The Big Sky” (1952) – Howard Hawks directed this adaptation of A.B. Guthrie’s 1947 novel about a fur trader’s expedition up the Missouri River. Kirk Douglas and Dewey Martin starred.

“THE COUNT OF MONTE CRISTO” (1934) Review

tumblr_mkmu7tGvhY1qbsi4oo2_1280

 

“THE COUNT OF MONTE CRISTO” (1934) Review

I have seen only two versions of Alexandre Dumas père’s 1845 novel, “The Count of Monte Cristo” in my past – the 1975 television version with Richard Chamberlain and the 2002 Disney film with James Cavielzel. While reading a good number of articles about the movie versions of the novel, I came across numerous praises for the 1934 adaptation that starred Robert Donat. And since I happened to like Dumas’ story so much, I decided to see how much I would like this older version. 

Set between the last months of the Napoleonic Wars and the 1830s, “THE COUNT OF MONTE CRISTO” told the story of merchant sailor Edmond Dantès becomes a victim of French political machinations and personal jealousy after his dying captain Leclère, a supporter of the exiled Napoléon I, charges him to deliver a letter from the exiled former emperor to an unknown man in Marseilles. Thanks to the first mate Danglars, who is jealous of Dantès’ rapid rise to captain; an ambitious city magistrate named Raymond de Villefort, Jr., who wants to stem a possible family scandal, due to his father being identified as the man to whom Napoléon had written the letter; and his best friend Fernand Mondego, who is in love with Dantès’ fiancée, Mercedes de Rosas; Dantès ends up on an island prison called Château d’If. There, he meets a fellow prisoner, a priest and a former soldier in Napoleon’s army named Abbé Faria. Faria educates Dantès and informs the latter a fabulous hidden treasure before he is killed in a cave-in. Dantès escapes from the prison and befriends a group of smugglers that include a thief named Jacopo. They find the treasure that Faria had talked about and Edmond uses it to establish the persona of the Count of Monte Cristo. He hopes to avenge himself against those who had betrayed him – Danglars, Villefort, Mondego. He also learns that Mercedes had married Mondego not long after his imprisonment.

Many critics have labeled this movie as the best adaptation of Dumas’ novel. Is it the best? It all depends on individual preference. I do know that I enjoyed “THE COUNT OF MONTE CRISTO” very much. The movie benefited from solid writing by director Rowland V. Lee, Philip Dunne and Dan Totheroh, despite some of the changes they made from the novel. “THE COUNT OF MONTE CRISTO” benefited from a script that balanced action with drama. I found it interesting that most of the action occurred in the movie’s first half – before Dantès’ transformation into the Count of Monte Cristo. Aside from a brief duel between Dantès and Mondego, most of the second half seemed dominated by drama and Dantès’ schemes. My favorite scheme centered around Dantès’ exposure of Mondego’s murderous actions against I have no problem with this . . . to a certain extent. One of the major differences between this movie and Dumas’ novel is the romance between Dantès and Mercedes. Unlike the novel, the pair eventually reconcile with each other, following the death of Mercedes’ husband. Frankly, I am glad that Lee and the other two screenwriters made this change. As much as I admired Dumas’ bittersweet ending to Dantès and Mercedes’ relationship, I have always found it somewhat . . . disappointing. That disappointment was eliminated when the screenwriters allowed the couple to spend their remaining years together.

However, I do have my complaints regarding “THE COUNT OF MONTE CRISTO”. Although the movie seemed to be balanced between action and drama, I would have preferred if that balance had been maintained throughout the film. If it were not for Dantès’ schemes against his enemies – especially Fernand Mondego – I would have been bored with the movie’s second half. It did not help that I found Dantès’ duel with Mondego rather dull. Even worse, the screenwriters decided to be faithful to Dumas’ novel by having the duel before Dantès’ acts of vengeance against Danglars and de Villefort. For once, I wish they had not been so faithful. And honestly . . . I wish the screenwriters had found another way for Dantès to exact revenge upon de Villefort other than prematurely exposing himself . . . an act that led to his arrest and trial. Because I did not find this method particularly satisfying.

I certainly have no complaints about the performances in “THE COUNT OF MONTE CRISTO”. There were performances that I found solid, but not particularly interesting. Among them are Irene Harvey and Douglas Walton as the two young lovers – Valentine de Villefort and Albert Mondego; Luis Alberni as Jacopo; Lawrence Grant as a slightly hammy de Villefort Sr.; and Georgia Caine as Mercedes’ mother. Louis Calhern, Sidney Blackmer and Raymond Walburn as Dantès’ three nemesis – Raymond de Villefort Jr., Ferdinand Mondego and Baron Danglars. I was especially impressed by Calhern’s subtle performance. And I was very impressed by O.P. Heggie’s emotional, yet wise take on the Abbé Faria. However, Robert Donat and Elissa Landi gave, in my opinion, the best performances in the film. For me, they were the heart and soul of “THE COUNT OF MONTE CRISTO” Both Donat and Landi managed to skillfully develop their characters from the innocent young lovers to the embittered ex-convict and his long-suffering former fiancée, who young lives had been unraveled by the capriciousness of three men. One of my favorite scenes in the movie featured their reunion after nearly twenty years apart. I found it both tense and emotionally satisfying.

There are some aspects of “THE COUNT OF MONTE CRISTO” that prevents it from becoming a big favorite of mine. But I cannot deny that it is a well made adaptation of Dumas’ novel. And one can thank Rowland V. Lee’s solid direction, the excellent script written by him, Philip Dunne and Dan Totheroh, and a solid cast led by the talented Robert Donat.

“THE THREE MUSKETEERS” (1948) Review

3-musketeers-1

“THE THREE MUSKETEERS” (1948) Review

There are times when I find myself amazed at the longevity of Alexandre Dumas’ 1844 novel, “The Three Musketeers”. The novel has been in circulation for nearly 170 years. Hollywood and other film industries have been adapting the novel for the movies or television for nearly a century. One adaptation I recently viewed was the Hollywood movie produced and released by MGM Studios in 1948. 

We all know the story. A young Frenchman from Gascon sets out for Paris in the early 17th century to join the King’s Musketeers. During this journey, he meets a beautiful, mysterious woman and picks a fight with one of the lady’s escorts. Upon his arrival in Paris, d’Artagnan presents himself to Commander de Treville of the Musketeers and successfully joins the unit, despite losing his father’s letter of introduction. D’Artagnan also manages to annoy three of the most skillful Musketeers – Athos, Aramis and Porthos – and schedule a duel with all three of them. His duel with Athos ends when members of Cardinal Richelieu’s men tries to arrest the Musketeers. And d’Artagnan assists the Musketeers in their fight against the Cardinal’s men. The young Gascon befriends his fellow Musketeers, acquires a valet named Planchet and falls in love with the goddaughter of his new landlord, Constance Bonacieux. However, Constance also happens to be Queen Anne’s dressmaker. Thanks to her romance with d’Artagnan, the latter becomes involved in royal and political intrigue as he helps Constance prevent Cardinal Richelieu from exposing the Queen’s romance with England’s Duke of Buckingham; and becomes the target of one of the Cardinal’s top agents – the beautiful and deadly Milady de Winter, who happened to be the mysterious woman he had briefly encountered on the road to Paris.

Directed by George Sidney and written by Robert Ardrey, “THE THREE MUSKETEERS” turned out to be the second most faithful adaptation of Dumas’ novel. Mind you, there were differences. Due to Code restrictions, Constance Bonacieux was the goddaughter of d’Artagnan’s landlord, not the wife. Therefore, this version avoided any adulterous taint in the relationship between the hero and his lady love. The war conducted between France and Spain featured in Dumas’ novel was transformed into a private military campaign conducted behind King Louis XIII’s back, between Richelieu and Buckingham. And Milady de Winter’s prison guard in England turned out to be Constance (in hiding from Richelieu), instead of John Felton, one of the Duke’s officers. Which meant that Constance’s death occurred at Buckingham’s castle, instead of inside a monastery in France. Fortunately, these changes barely made any negative impact on my viewing pleasure. But there were some aspects of the movie that did not sit well with me.

Mind you, Gene Kelly’s overall performance as d’Artagnan struck me as well done, despite the actor being over a decade older than the actual character. But there were times in the movie’s first half when I found his performance a little hammy and strident – especially in his effort to convey the image of a passionate and impetuous youth. A good example of this hamminess was his reaction to his first sight of Constance Bonacieux. Screenwriter Robert Ardrey did very little to showcase the Comte de Rochefort character in the film and ended up wasting the presence of actor Ian Keith, who portrayed the character in this film and in the 1935 adaptation. I liked Frank Morgan’s portrayal of King Louis XIII, but I must admit that he seemed to old for the role. And the Queen Anne character, portrayed wonderfully by Angela Landsbury, practically disappeared in the movie’s second half, despite the major roles played by Constance and the Duke of Buckingham during that period.

Despite these quibbles, I must admit that “THE THREE MUSKETEERS” is probably my second favorite adaptation of Dumas’ novel. One thing, the Technicolor featured in this film is absolutely beautiful. The color, combined with Robert H. Planck’s photography of the movie’s locations really took my breath away . . . especially in scenes that featured some of the characters’ travels across France and England. Herbert Stothart, who had won an Oscar for his work on 1939’s “THE WIZARD OF OZ”, did an admirable job of blending the movie’s score with the on-screen drama and action. Speaking of action, this movie featured some of the best sword fighting choreography I have ever seen on screen. The fight scenes definitely benefited from Kelly’s dancing skills and athleticism. But Kelly was not the only one who looked good in the action scenes. So did Van Heflin, Robert Coote and especially Gig Young. Even Keenan Wynn, who portrayed d’Artagnan’s valet Planchet, looked good in one or two scenes. I must admit that Walter Plunkett’s costume designs looked absolutely beautiful – for both the male and female characters. However, a part of me suspected they were not an accurate reflection of early 17th century France.

Ardrey’s adaptation of Dumas’ novel may not have been perfect. But I cannot deny that the screenwriter still fashioned a first-rate script. He did an excellent job in meshing the two major plotlines of the novels – the theft of Queen Anne’s diamonds and Milady de Winter’s activities against d’Artagnan and the Duke of Buckingham in the movie’s second half. George Sidney’s energetic direction and excellent performances from the cast elevated the script even higher. Not only did the sword fighting sequences impressed me, I especially enjoyed the long sequence that featured d’Artagnan’s journey to England to fetch Queen Anne’s diamonds. The movie also featured some fine dramatic scenes. One of them featured superb performances from Lana Turner and Vincent Price, in which the two villainous characters discuss the fates of both the Duke of Buckingham and d’Artagnan. Another turned out to be a showcase for Van Heflin in which the drunken Athos revealed the details of his failed marriage. But my favorite featured Athos’ revelation of Milady as his estranged wife in a conversation with d’Artagnan. This scene revealed some outstanding performances from both Heflin and Kelly.

No movie is perfect. I can honestly say that the 1948 movie, “THE THREE MUSKETEERS” is no bastion of perfection. It has its flaws. But it also possesses virtues that outweigh its flaws – including an excellent cast, beautiful photography, and a well-written adaptation of Alexandre Dumas’ novel. Most of all, all the movie’s virtues were increased tenfold from a well-paced and energetic direction from George Sidney. It is a pity that MGM Studios failed to profit from “THE THREE MUSKETEERS”. The studio certainly deserved to.

“THE THREE MUSKETEERS” (1993) Review

“THE THREE MUSKETEERS” (1993) Review

Alexandre Dumas’ classic 1844 novel, “The Three Musketeers” must have been one of the most adapted stories in film and television history. I do not know exactly how many adaptations have been filmed. But I have seen at least four of them – including Disney Studios’ version, released in 1993.

Directed by Stephen Herek, “THE THREE MUSKETEERS” is not a faithful adaptation of Dumas’ novel. David Loughery’s script utilized some elements of the novel, including most of the characters and d’Artagnan’s first meeting with his three friends and fellow musketeers. But in the end, he created his own story. In “THE THREE MUSKETEERS”, a young Gascon named d’Artagnan hopes to follow in the footsteps of his late father and join the King of France’s Musketeers in 1625 France. Unfortunately for d’Artagnan, several factors stand in his way. One, he makes an enemy out of a local aristocrat named Gerard and his brothers, who believe he has defiled the honor of their sister, and is pursued by them all the way to Paris. Two, upon his arrival in Paris, he discovers that the Musketeers have been disbanded by King Louis XIII’s chief minister, the power-hungry Cardinal Richelieu. And three, his encounters with Musketeers Athos, Aramis and Porthos results in him accepting a duel from each man.

Fortunately, d’Artagnan’s hostility toward the trio is short-lived and he ends up helping them battle Richelieu’s guards, who arrive to arrest Athos, Aramis and Porthos. But after they leave him, d’Artagnan is arrested by more guards and Richelieu’s lackey, Captain Rochefort. While in prison, he meets the Cardinal and overhears a conversation between the latter and spy Milady de Winter. She is ordered to deliver a signed treaty to France’s primary enemy, the Duke of Buckingham of England. Cardinal Richelieu plans to undermine the King’s authority, before assassinating him, taking the throne and Queen Anne as consort. When Athos, Aramis and Porthos rescue d’Artagnan from execution, the four men set out to expose Richelieu as a traitor of France and save King Louis XIII from death.

Fans of Dumas’ novel will probably be unhappy with this adaptation, considering that it failed to be a faithful one. I must admit that when I first saw “THE THREE MUSKETEERS”, I was surprised and a little disappointed myself. And there were a few aspects of the movie that I disliked. The addition of Gerard and his brothers into the story really annoyed me in the end. Mind you, I found the aristocrat’s determination to confront d’Artagnan at the beginning of the movie tolerable. But once d’Artagnan reached Paris, with Gerard still in hot pursuit, the subplot became an annoying running joke that refused to die. And it did not. I like Paul McGann as an actor . . . but not that much.

Even worse, McGann’s Gerard seemed to have more screen time than any of the major female characters. Although I never viewed Queen Anne as a “major character”, I felt otherwise about Milady de Winter and d’Artagnan’s lady love, Constance Bonacieux. I did not mind when Loughery’s script transformed Julie Delpy’s Constance from the Queen’s dressmaker to maid/companion. But I did mind that her role was reduced to a few cameo appearances. The same almost happened to Rebecca De Mornay’s portrayal of Milady de Winter. I personally found the reduction of the latter role rathercriminal. Milady has always been one of the best villains in literary history. And nearly every actress who has portrayed her, did justice to the role. I can say the same about De Mornay, who was excellent as Milady. Unfortunately, Loughery’s script gave her very few opportunities to strut her stuff.

Despite the change in Dumas’ story and the reduction in the females’ roles, I cannot deny that “THE THREE MUSKETEERS” proved to be a first-rate and entertaining movie. It had romance – well, a little of it. The best romance in the film proved to be the long simmering one between Athos and Milady, whose marriage had earlier ended in failure. And I found the one between d’Artagnan and Constance rather charming, if brief. The movie featured some great action, including a marvelous chase scene in which the Musketeers are being pursued by Rochefort and the Cardinal’s men; d’Artagnan’s first sword fight, in which he allied himself with the Musketeers; Milady de Winter’s capture at Calais; and especially the final fight sequence in which the Musketeers prevent Richelieu’s plans for the King’s assassination.

Tim Curry made an entertaining, yet splashy Cardinal Richelieu. He came close to being all over the map, yet he still managed to keep his performance controlled. And Michael Wincott’s sinister portrayal of Captain Rochefort was superb. Rebecca De Mornay was superb as Milady de Winter, despite the role being reduced. And her Milady has always struck me as the most complex in all of the adaptations. Julie Delpy and Gabrielle Anwar were charming as Constance and Queen Anne. I wish I could say the same about Hugh O’Connor as King Louis XIII, but I must admit that I was not that impressed. He was eighteen years old at the time and probably a little too young and stiff to be portraying the 24 year-old monarch.

But the highlight of “THE THREE MUSKETEERS” proved to be the four actors who portrayed d’Artagnan and his three friends – Athos, Aramis, and Porthos. They were perfect. Chris O’Donnell captured every aspect of d’Artagnan’s youthful personality – the earnestness, cockiness, and immaturity. Watching the movie made me realize that he has come a long way in the past nineteen years. And he had great chemistry with the three actors who portrayed the Musketeers. Kiefer Sutherland was perfect as the commanding, yet cynical and disillusioned Athos, who regretted ending his marriage to Milady. The producers of this film certainly picked the right man to portray the smooth-talking ladies’ man, Aramis. And whatever one might say about Charlie Sheen, he did a superb job in the role. Oliver Platt was a delight as the brash and extroverted Porthos. Quite frankly, he made a better figure for comic relief than McGann’s Gerard. However, the best thing about the four actors’ performances was that they all perfectly clicked as a screen team. All for one and one for all.

Yes, “THE THREE MUSKETEERS” was not perfect. What movie is? And it is certainly not the best adaptation of Alexandre Dumas’ novel. But I cannot deny that it was entertaining. And I have no regrets in purchasing a DVD copy of this film. If one can keep an open mind over the fact that it was not a close adaptation of the 1844 novel, I think it is possible to find it very enjoyable.

“ROYAL FLASH” (1975) Review

[12.jpg]

Below is a review I had written of the 1975 adaptation of George MacDonald Fraser’s novel,“ROYAL FLASH”:

 

“ROYAL FLASH” (1975) Review

Directed by Richard Lester, “ROYAL FLASH” is a 1975 adaptation of George MacDonald Fraser’s 1970 novel of the same title, the second in a series of twelve (or thirteen) novels and stories about a cowardly British Army officer during the Victorian Era. Both the novel and the movie are comedic spoofs of Anthony Hope’s 1894 novel, “The Prisoner of Zenda”, about an Englishman assuming the identity of a look-a-like European prince.

This movie does not seemed to be well-liked by many fans of THE FLASHMAN SERIES. One, it was adapted from one of Fraser’s least popular Flashman novels. Two, many of those fans balked at the idea of the medium-height blond Malcolm McDowell portraying the tall, dark-haired Harry Flashman. And three, many did not care how Richard Lester had included the same slapstick comedy that he had used in his two ”MUSKETEERS” movies. It is not surprising that ”ROYAL FLASH” not only failed to make an impact upon the box office in 1975, it remained unpopular for many years.

I must admit that Fraser’s 1970 novel never became a favorite of mine. Because it was a send-up of ”The Prisoner of Zenda”, it struck me as being somewhat unoriginal. And while I managed to tolerate Lester’s slapstick humor in the ”MUSKETEERS” movies, there were times when it seemed a bit too much in ”ROYAL FLASH”. Well . . . except in a few scenes in which I will comment upon later. As for Malcom McDowell being cast in the title role . . . I had no problems with his performance. In fact, I found it more than satisfying.

In a nutshell, ”ROYAL FLASH” began with Captain Harry Flashman being feted in 1843 London for his heroic exploits during the disastrous First Anglo-Afghan War (1839-42). Actually, Flashman’s actions were less than heroic. Being the coward he was, he surrendered to the enemy . . . before British artillery saved him from captivity via a barrage. British troopers came upon his unconscious body – with him clinging to a Union Jack flag – and mistook him as a brave military fighter who was not only the last survivor of Piper’s Fort, but as someone who had fought until the bitter end. Following Flashman’s return to England, the British officer met two people who would endanger his life on the European continent four years later – future chancellor and creator of modern day Germany, Otto von Bismarck; and the Irish-born actress/dancer (if you can call her one) and courtesan, Rosanna James aka Lola Montez. He had met the pair while fleeing from a whorehouse being raided by the police. Being a lustful ladies’ man, Flashy managed to charm Rosanna (or Lola) into a tumultuous affair. And being a vindictive scoundrel, he made an enemy out of Bismarck by manipulating the latter into a boxing demonstration with the famous boxer John Tully. Eventually, Flashman grew weary of Lola’s penchant for using a hairbrush on his backside during sex and ended the affair on a bad note. Four years later, Flashman received a letter from Lola, now mistress of King Ludwig I of Bavaria, asking him for a favor. Upon his arrival in Bavaria, Flashman is framed for the attempted rape of Bavarian countess by Lola and ended up in the clutches of Bismarck and his top henchmen, Rudi Von Sternberg. The pair coerced him into impersonating a Danish prince named Carl Gustaf, set to marry the Duchess Irma of Strackenz. According to Bismarck, the real Prince Carl had contacted a sexually transmitted disease, making it impossible for him to marry the Duchess. As Flashman will eventually discover, Bismarck’s reasons behind this deception are a lot more devious. The German politician did not wish for the Duchess to marry a Dane, since the marriage might tilt the balance on the Schleswig-Holstein Question and interfere with his plans for a united Germany.

Many years have passed since I last saw ”ROYAL FLASH”. Many years. And after reading several articles about its shortcomings, I really did not expect to enjoy it as I had done in the past. And yet . . . I did. Very much. Yes, I found some of the slapstick humor rather annoying. I can definitely say this about the sequence that featured the police raid on the London brothel, Flashman’s rather silly attempt to prove his marksmanship to the Bavarian military officers, and his duel against Rudi Von Sternberg inside the dungeon that held the real Carl Gustaf. But there were some slapstick moments that struck me as hilarious. One scene involved Flashman (in disguise as Prince Carl) accidentally smashing a bottle against the head of some poor chump during the christening of Strackenz’s new rail train. Another hilarious scene involved Flashman’s “honeymoon” night with the frigid Duchess Irma; along with Flashman’s attempts to escape from Bismarck and his thugs during his indoctrination as the fake Prince Carl. Also, the movie ended with a witty and rather funny duel of “Hungarian” roulette between Flashy and Von Sternberg, after the latter managed to interrupt Flashy’s flight from Germany.

Hardcore fans of THE FLASHMAN SERIES have condemned the choice of Malcolm McDowell for the role of Harry Flashman. It is quite apparent that the actor bore no physical resemblance to the fictional Flashman. But as far as I am concerned, McDowell more than made this up with his superb performance as the amoral and cowardly British officer. Personality wise, McDowell captured Flashman’s personality to a T. For me, he was Flashman personified.

There were other actors who struck me as perfectly cast in their roles – Oliver Reed as the manipulative and vindictive Otto von Bismarck, Britt Ekland as the beautifully cold Duchess Irma, Joss Ackland as the intimidating Danish patriot Sapten, and an unknown Bob Hoskins as the persistent London police officer who led the raid on the whorehouse. I also enjoyed Lionel Jeffries and Tom Bell as two of Bismarck’s thugs – Kraftstein and DeGautet. I must admit that it took me a while to warm up to Alan Bates’ performance as Bismarck’s top henchman, the Hungarian-born Rudi Von Sternberg. His Rudi seemed cooler, more mature and less jovial than Fraser’s literary version. But in time, I learned to appreciate Bates’ slightly different take on the role. However, the one performance that failed to impress me belonged to Brazilian-born actress, Florinda Bolkan, who portrayed the fiery Lola Montez. The filmmakers not only made the mistake of casting a Latin actress in the role, Lester allowed her to portray Lola as a Continental European. After all, the character was originally the Irish-born Rosanna Gilbert James before becoming the famous dancer, Lola Montez. Either Ms. Bolkan should have portrayed Lola as Irish, or Lester and the other filmmakers should have cast an Irish actress or one from the British Isles in the role.

Thankfully, there is a great deal more to enjoy in ”ROYAL FLASH”. George MacDonald Fraser did a first-rate job of adapting his novel into a screenplay. In fact, I found it a little more enjoyable than his novel. Anyone who has seen the ”MUSKETEER” movies must know that Lester had incorporated more realistic style fencing in the movies’ fight scenes. In other words, the sword fights featured a great deal of more bashing and kicking than any elegant swordplay. Thankfully,”ROYAL FLASH” provided more elegance in its sword fights. I especially enjoyed McDowell’s skills during the kitchen fight sequence that turned out to be a fake rescue perpetrated by Von Sternberg. The legendary cinematographer Geoffrey Unsworth did an excellent job of capturing the beauty of German locations featured in the film. However, I could have done without that soft focus look that seemed to scream ”period piece”. Utilizing Unsworth’s photography, Alan Barrett’s costume designs and Terence Marsh’s production designs; Lester managed to effectively recapture England and Germany during the 1840s.

I realize there are hardcore fans of THE FLASHMAN SERIES who will never accept ”ROYAL FLASH” as a worthy adaptation of Fraser’s 1970 novel. But you know what? Who cares? Seeing it again after so many years, made me realize that it had not lost its touch. At least not for me. In fact, I believe that the movie deserves a better reputation than the one it has possessed for the past three decades.