The Count of Monte Cristo | Another excellent adaptation of a Dumas classic

After their brilliant two-film adaptation of Three MusketeersMatthieu Delaporte and Alexandre de La Patellière take up the challenge once again for The Count of Monte Cristowhich they filmed this time in addition to having written the screenplay.

In an interview, Matthieu Delaporte mentioned to us that he found it interesting when directors and producers revisit great classics, because they offer a new perspective on the work. We can only agree with him, as the version of this other timeless novel by Alexandre Dumas is so successful. Without distorting the raw material, it offers a contemporary reading of a tale of revenge that has spanned the ages.

In Marseille, in 1815, Edmond Dantès (Pierre Niney) has everything to be happy. The 22-year-old has just been promoted to captain following a heroic act and will soon marry the woman he loves. However, on the day of his wedding to Mercédès Herrera de Morcerf (the heartbreaking Anaïs Demoustier), he is arrested. His happiness makes people jealous and he is accused of being a Napoleonic agent – if not a royalist.

Sentenced to end his days in the Château d’If, a prison off the coast of Marseille, Edmond begins to lose his mind until the day the tunnel dug by his cellmate ends up in his own. Abbé Faria (warm Pierfrancesco Favino) gives the young man hope and they will dig together for 10 years. During these years, the last knight of the Order of the Temple will teach him philosophy, mathematics, various languages ​​and the location of the hiding place of the priceless treasure of the Templars.

Now free, rich and learned, Edmond introduces himself as the Count of Monte Cristo. Back on the continent, he traces behind his mask the three men responsible for his long incarceration. With the help of two young people, Haydée (magnetic Anamaria Vartolomei) and Andrea (intense Julien de Saint Jean), also thirsty for revenge, Monte Cristo will meticulously position each of his pieces in order to carry out his vendetta.

Rhythmic and well played

For a 3 hour film, The Count of Monte Cristo does not stretch. The pace is sustained, even fast in the first act. Despite everything, we grasp the essence of each of the many main characters. Without forcing the note, we are given enough reasons to curse Danglars (Patrick Mille), Fernand de Morcerf (Bastien Bouillon) and Gérard de Villefort (Laurent Lafitte). The three actors are detestable, but play with enough nuance to not be crazy, Laurent Lafitte particularly.

In the role of Albert, who gains importance in the last act, Quebecer Vassili Schneider delivers a convincing performance. The female characters are more self-effacing, but a scene with Angèle (Adèle Simphal) is among the most touching.

Pierre Niney (Yves Saint Laurentthe series Fiasco) is extraordinary in the skin of Edmond Dantès and under each of his masks. His physical transformation is impressive, as much in relation to the muscles he has gained and the weight he has lost as in his posture and his gait. He masters both the beautiful naivety of Edmond and the methodical charisma of the count.

The filmmakers wanted to evoke a 19th century^e fantasized century rather than an accurate historical reconstruction. Unless you are an expert on the period who might be annoyed by the approach, the sumptuous costumes and sets achieve the desired effect.

Jérôme Rebotier’s music is a bit excessive, especially during action scenes. These are actually rarer than in The Three Musketeers. They are, however, spectacular, starting with the opening sequence at sea, at night. Quebec cinematographer Nicolas Bolduc, who had worked on Martin Bourboulon’s diptych, once again demonstrates his great talent.

The Count of Monte Cristo won the Cheval Noir Award for Best Film at the recent Fantasia Festival, a well-deserved accolade. It provokes questions about love, hate and revenge, in addition to offering epic entertainment that is rarely seen.

In the room

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Historical drama

The Count of Monte Cristo

Matthieu Delaporte and Alexandre de La Patellière

With Pierre Niney, Anaïs Demoustier, Bastien Bouillon

2:58

8/10