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After attending the release of “The Count of Monte Cristo,” a friend made the allege that he believed the movie could back from additional fight sequences. Immediately my mind shot encourage to last year’s “The Musketeer,” also based (rather loosely, I might add) on another of Alexandre Dumas’ notorious classics. In that film, character development, tale, and tone were sacrificed for the sake of creating yet another movie in which a choreographer of Chinese descent was allowed to build an impression on action aficionados by glowing them with techniques reminiscent of “Crouching Tiger, Hidden Dragon.”
What a relief that this latest adaptation of a Dumas unusual strays from the usual clichés and redundancy of bringing a classic work of literature to the cloak, coming out as a sturdy, well-guided costume drama that combines action, intensity, passion, and most importantly, revenge. With a script that keeps remarkable of the novel’s intricacies intact, a cast befitting of their roles, and a director who keeps things challenging at all times, this is one swashbuckling adventure that pleases in all fields.
The record centers around Edmund Dantes (Jim Caviezel), a sailor from a middle class upbringing in the town of Marseilles. He has a friend, Fernand Mondego (Guy Pearce), whose father is a wealthy aristocrat; despite his rich lifestyle, Mondego quiet harbors a limited jealousy for Dantes, who has honest been promoted to captain of his vessel, allowing him the opportunity to marry his longtime worship, Mercedes (Dagmara Dominczyk) . Overcome by envy, Mondego concocts a vicious understanding with the equally jealous first mate of Dantes’ boat that lands a wrongfully accused Dantes in the Chateau d’If for more than a decade.
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During his years of imprisonment, Dantes’ choose is strengthened by brutal beatings, and by his friendship with fellow prisoner Faria (Richard Harris), who teaches Dantes to read and write, the command moves of swordplay, and offers him the station of a long-lost worship that would give him the means to proper his revenge on those who have wronged him. Faria’s death provides Dantes the intention of dash he needs, and once out, he begins his quest.
The second half of the movie takes the movie to current heights of interest, as Dantes makes his colossal entrance in Paris as the Count of Monte Cristo, curved on exacting his revenge on Mondego, now married to a repressed, glum Mercedes, and on Villefort, the police chief who played a role in his wrongful incarceration. Anyone familiar with revenge plots is well aware that this is a dish best served frosty, and many will delight in the cooly calculated revelations and confrontations that arise as Dantes’s master belief begins to unfold.
Accompanying this feeling of satisfaction is the movie’s wondrous appearance and execution. The survey and feel of the film drips with the quality of the swashbuckling adventures of yesteryear, with its themes of vengeance and nobility, it’s beautiful costumes and state acquire, and a final showdown that provides a slam-bang carry out complete with suspense and fist-clenching thrills. Reynolds, and screenwriter Jay Wolpert, have realized the current for the camouflage in a manner that is ravishing to the see and the mind, keeping in touch with everything that has immortalized Dumas’ work without reworking key moments to design room for recent artistic influences.
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If this weren’t enough to please popcorn audiences and literary buffs, the cast is completely great. Jim Caviezel plays Dantes with the conviction of a man wrongfully accused; by the time he escapes prison, we are all for him and his brilliantly conceived idea. His chemistry with leading lady Dagmara Dominczyk is a welcome carve of conventional romance, while his scenes with Guy Pearce provide a nice dissimilarity of nobility and jealousy, which Pearce perfects in his performance as Mondego. Also beneficial of noting are the appearances of Richard Harris and Lius Guzman, who provide laughable touches throughout.
More than anything else, this latest big-screen version of “The Count of Monte Cristo” is a incredible popcorn adventure replete with everything you could possibly ask for in a film of this sort. Overall, it remains faithful enough to its source, and keeps us enlightened and entertained throughout its well-acted, well-directed, well-executed duration. Count on revenge, and then some.
In this time of fire and explosion oriented blockbuster movies it is indeed refreshing to collect a remake of a classic unique of the quality of The Count of Monte Cristo currently available. I happened to nonchalantly settle this film at the DVD outlet as a source of viewing background for an evening of desk work. Ghastly! This superbly made film of the Dumas’ current is trustworthy and attractive on every level. The quality of the film, shot in Ireland and Malta, is visually radiant, the yarn remains right to the recent, and the cast is outstanding. James Caviezel makes a star turn in the title role, aided by the always pleasurable Guy Pearce, the archaic Richard Harris, the here venomous James Frain, a glorious and very different role for Luis Guzman, and the elegantly dazzling Dagmara Domincyzk. The movie is beautifully paced, the long prison scenes allow Caviezel and Harris to develop titanic rapport, and the age musty theme of REVENGE has rarely been played out so well. This is a blooming period fraction, finely photographed and scored and edited and directed. For a taste of fair how racy the ragged tales can be visually, treat yourself to an evening with The Count!
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