The Count of Monte Cristo Review
by Laura Clifford (laura AT reelingreviews DOT com)January 24th, 2002
THE COUNT OF MONTE CRISTO
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When sailor Edmond Dantes (Jim Caviezel, "Angel Eyes") overrules first mate Danglars (Albie Woodington) to take his ailing captain to an island shore, it sets in motion a shatteringly life-changing course of events. Unwittingly, he and his childhood friend Fernand (Guy Pearce, "Memento") land on Elba, where they're attacked by British dragoons holding Napoleon (Alex Norton, "Local Hero") in exile. They survive (although their captain is less fortunate) and return to Marseilles with the guileless Edmond carrying a secret letter for Napoleon.
Denounced by Danglars, Edmond is amazed to find himself promoted to captain by the ship's owner, but his celebration is short-lived. Fernand, jealous of Edmond's good fortune and lusting after his fiance Mercedes (Dagmara Dominczyk), informs local magistrate Villefort (James Frain, "Where the Heart Is") of that treacherous letter. Convinced of Edmond's innocence, Villefort is on the verge of releasing him when he asks Edmond who the recipient is. Hearing the name of his own father, Villefort is determined to protect himself and has Edmond sent to the notorious island prison of Chateau D'If. There Edmond spends thirteen years dreaming of revenge which a fortuitous friendship with another prisoner will allow him to enact as "The Count of Monte Cristo."
Kevin Reynolds' ("Waterworld") umpteenth film version of the Alexandre Dumas tale (adapted by Jay Wolpert) features stunning Maltese locations and attractive leads, but the unfortunate decision to make Fernand a childhood friend of Edmond's without making that friendship believable detracts from, rather than adds tension to, the tale. This swashbuckler, in which buckles are swashed too perfunctorily, is a middling entertainment.
While Caviezel is a pleasant enough lead, coming into his own after his transformation into the titular count, Guy Pearce's Fernand is so immediately recognizable as the worst type of snivelling villain that the characters' lifelong friendship seems absurd. The use of a chess piece as a token between the two kept by the 'king of the moment,' may as well have a flashing arrow titled 'symbolic plot device' pointing towards it.
Thank heavens for Richard Harris whose imprisoned Abbe Faria enables Edmond's transformation. His performance as a down to earth priest with senses of determination, right and humor gives the film some much needed weight. Alas, after a most amusing entrance, Harris' exit arrives all too soon, but offers Edmond a means to escape.
Edmond washes ashore and immediately falls in with a band of entertaining pirates, where he acquires right-hand man Jacopo (the usually great Luis Guzman, unwisely used here for comic effect, the film's worst offense). Edmond and Jacopo locate the treasure from a map the Abbe had given him, only if he were to use the money for good. Edmond believes revenge is a just cause.
"The Count of Monte Cristo" certainly looks good, with aquamarine seas reflecting off the cliffs of Malta's Comino island and opulent interiors built in Ireland. Lavish costumes by Tom Rand ("The Duelists") are a given for this type of period piece. Most unfortunately, the treasure featured in a number of shots includes cheesy plastic baubles masquerading as jewels amidst the more realistic looking gold coins. The Count makes his arrival in society by staging an elaborate party complete with fireworks and entrance by hot air balloon like an 19th century Malcolm Forbes. The makeup used to make the older Fernand look debauched is notable.
C+
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