The Count of Monte Cristo Review
by Karina Montgomery (cinerina AT flash DOT net)February 27th, 2002
The Count of Monte Cristo
Matinee and Snacks
I have had the benefit of reading one-third of the novel since seeing this movie and before writing this review, so I will confess that I am making my original commentary and then correcting myself in hindsight. I curse the fall of Excite that made my emailing temporarily troublesome.
I had managed to get a BA in English without ever having had the pleasure of reading Alexandre Dumas' book prior to now, and I had a great time in the movie. There is a reason they call books like this "classics." At the time of my viewing, I was certain much was cut from the story (and, I still suspect, tidied up a bit in the end), but I found it as its own work to be exciting, delightful, and fun - in a classic sense. Now, having read as far as the midway point in the film, I can say that much was changed for the screen, possibly so much as to frustrate fans of the book, but I can also say that while I think I would have handled such changes differently, they are, for the most part, justified, considering modern day audiences.
Jim Caviezel, whom you might know, but probably don't, from such films as Frequency and Angel Eyes, is our hero, Edmond Dantes. His (film) best friend, Guy Pearce, is a privileged hypocrite who gets the ball moving on the plot in a violent pop of jealousy. This is actually super-simplified but, I feel, streamlined and not at all offensive. After this point, the movie has everything you could want - true love, deception, betrayal, paranoia, dishonesty, revenge, swordplay, torture, plotting, escape, justice, smugglers, maps, treasure, knife fights, cunning plans, big parties, close calls, and more sword fighting. That alone should do for appeal, but Caviezel, Pearce, Richard Harris, Luis Guzman, and of course, their silent costar Dumas, really make it sing.
Starting in the complex climate of 1814 France, the story has been distilled to just enough, rather than too many, characters, and is topped off by a pretty energetic score. I was, literally, at the edge of my seat, or pounding my thighs with my fist in delight. My companion was all grins. The knucklebiting was not of the "Oh god oh no oh my" variety as experienced in Black Hawk Down, but a thrilling and even quaint storytelling thrall. Several times I thought and/or voiced, "I must read this!" and of course, I have begun reading and could barely lay it down to finally write this review.
One of the most refreshing and sure to be overlooked elements of this movie was the complete lack (discounting story modifications) of ridiculous Hollywood flim flammery, as we are growing so inured to, such as unnecessary Matrix pans or impossible-without-CGI flying crane shots, or culturally non-sequitur and gratuitous kung fu. Not that there is anything wrong with such things when applied properly, as in the upcoming sequel to Blade; although for kung fu styling to be present, one really must include at least one Asian combatant or at least, tongues in cheeks. However, I have found that I can better sink into the narrative world of the Napoleonic era best when the camera is limited to dollies and closeups, and the weapons are rapiers and wit.
The simple truth is that nothing beats a good story, or in this case, a good interpretation of a great story, and very little can shatter that truth. If the story is thin, some pyrotechnics can compensate, but we ultimately drive home talking about what happened next! This production could have been made any time, it is not dated by flash in the pan cinematic trends or anachronistic tomfoolery. I enjoyed the hell out of it, and I am really enjoying the book as well. Sink your cash into both without compunction.
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These reviews (c) 2002 Karina Montgomery. Please feel free to forward but just credit the reviewer in the text. Thanks. [email protected]
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