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UCFC Movie Reviews The Count of Monte Cristo Year: 2002 Director: Kevin Reynolds Sword Master: William Hobbs Starring: Guy Pearce, Richard Harris, James Caviezel, Michael Wincott, Dagmara Dominiczyk Review by V. Bjerreskov (02 02 11) One of these years, I will read some of Dumas' novels. Perhaps then I will be able to comment on how well his intentions and style carry over into films made from his works. As it stands, I can only comment on The Count of Monte Cristo from my own standpoint of enjoyment, and from the second-hand plot summaries I've heard from those who have read it. This film is one of the better ones I have seen recently. From the initial scene, I was drawn in by the characters, their interaction, and the story that weaves them together. It is a comment on the adaptor's skill that a book of over 500 pages (up to 1000, depending on the publisher and run) can be condensed into a fairly coherent and linear film. The settings used are truly spectacular, from the clean lines of the late 1800s Marseilles' port, to the ruggedness and perversity of the Chateau d'If. It seems Reynolds chose each camera angle for the greatest possible effect on the audience. The film is visually balanced, and, up until it began departing from Dumas' novel, the story is balanced as well. There is an edginess that permeates the film, a barely contained anger that nicely parallels Dantes' hate. But when suddenly all the plot lines begin to be tied up into nice, neat, happy bows, that underlying current dissipates, and it makes the end of the movie somewhat disappointing. I don't want to ruin the book or movie for anyone, so perhaps it is best to just say that mass market Hollywood doesn't generally film endings like the one to Dumas' novel. The actors almost make up for the disappointing ending. This film is amazingly well cast on all fronts. Perhaps that's because this film is not a star vehicle. I haven't really heard of any of the principals, with the exceptions of Richard Harris and Michael Wincott. James Caviezel and Guy Pearce are not newcomers to the industry (Caviezel recently made Angel Eyes and Pay It Forward, while Pearce has been in Memento and L.A. Confidential), but if their performances in this film are any indication, we will see more good roles from them in the future. Their interaction is very believable, and they fall into their characters with a great deal of ease. The supporting cast is also very good, but would you expect anything less from Harris and Wincott? Dominiczyk seems to be a cross between Sophie Marceau and Catherine Zeta-Jones, but her acting abilities are fair, so she may yet be able to make a name for herself in the industry. As for the fencing, there are about four scenes in the film. Apparently, the principals spent about three weeks learning to fence before filming began. What I found interesting about the swordplay was how Hobbs was able to use form to make it apparent to the audience which characters had studied fencing, and which hadn't. This difference is especially evident in the first match. Dantes clearly doesn't know what he's doing, and the overhead camera angle makes that very clear. Nathan pointed out, however, that they were doing a lot of slashing with small swords, which is next to pointless (pun not originally intended). Still, it was visually interesting, and on the whole fairly decent for stage fencing. Hobbs was also the sword master for The Avengers. As I said, this is one of the better movies I've seen in a very long time, and I like the scenery, cinematography, and characters enough to probably get it when it comes out on video. Back to Movie Reviews Home  |  About Us   |  About Fencing   |  Links  |  Photo Gallery Image Bank  |  Reviews   |  Fencing Fun  |  Contact Us