The Man in the Iron Mask Review
by Boyd Petrie (respect AT aros DOT net)March 16th, 1998
The Man in the Iron Mask (1998)
Rated PG-13 for sequences of violence and some sensuality/nudity. ---------- Out of 4 stars: ** (2 Stars)
Starring: Leonardo DiCaprio, John Malkovich, Gabriel Byrne, Gerard Depardieu, Jeremy Irons, Peter Sarsgaard, Anne Parillaud, and Judity Godreche.
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Fresh off his incredibly successful turn as Jack Dawson in James Cameron's TITANIC, Leonardo DiCaprio has immensely increased his popularity to the point of becoming possibly the most famous actor of his generation. There is no doubt that both Kate Winslet and DiCaprio will be able to carry films by themselves, however DiCaprio already had popularity from his Oscar-nominated turn in the fantastic WHAT'S EATING GILBERT GRAPE? It's almost ironic that his film opens thirteen weeks after TITANIC did. And, more than likely, it will unseat the Cameron flick for the top of the box office. Unfortunately, it will not remain there.
THE MAN IN THE IRON MASK is one of those gorgeous films that contains beautiful imagery, colorful costumes, and terrific actors. However, what it lacks is good writing. Watching this film, I saw a story hidden below the surface of the film that was just waiting to be uncovered. This film never does it. It remains a superficially obsessed mess that cares more about viewers paying to see it than letting viewers become involved. This kind of Hollywood thinking has destroyed many films in that past that could have amounted to great things. I'm not saying Hollywood is bad, as I love it. It's the directors and writers and producers who think that audiences want more. Someone should tell them that we actually prefer less. And that's The Man in the Iron Mask's biggest problem: too much of everything, but too little of what we really want.
THE MAN IN THE IRON MASK begins well enough, proudly displaying its gorgeous scenery and vibrant costumes. Surprisingly, the film begins its quick descent into mediocrity at the appearance of DiCaprio as King Louis XIV. Louis is a pompous, arrogant, and young king, and yet he has a following, mostly from the upper class society. The lower class is extremely poor, not even able to afford something to eat (and what there is to eat is rotten). They riot and cry for help, but Louis is more worried with how many women he can sleep with at once, or how he can attract a certain woman to him. This woman is Christine (Judith Godrèche). She is beautiful, fair-skinned--and engaged. Well, almost engaged, for her love, Raoul (Peter Sarsgaard), can't find the opportune time to pop the question (I'm not sure, but weren't engagements setup by the parents back then?). Unfortunately, before Raoul can ask her, Louis "arranges" for him to be sent to the front lines of the war against the Dutch.
With all of the poverty and hatred in the city, the king does need guards. One of them is D'Artagnan (Gabriel Byrne), a loyal follower of Louis and captain of the Musketeers. However, he happens to be good friends with the infamous Three Musketeers (I still don't know why they're called three--there are really four of them!). Athos (John Malkovich) is retired, and happens to be the father of Raoul (I smell a plot convention). Porthos (Gérard Depardieu) is also retired, although he spends most of his time flatulently cracking jokes. Aramis (Jeremy Irons) is now a priest, but is also retired from the Musketeers. After Raoul's death, Athos proclaims that he will kill the king and anyone who stands in his way. Unfortunately, D'Artagnan maintains his loyalty to his king, and won't allow Athos to proceed with his promise. Athos meets with Porthos and Aramis again, and tells them that he wants to replace the king.
This is where the man in the iron mask comes into play. Prior to this moment, we have seen him only in agony in his cell. However, now the three come to release him from the mask. They find that the man in the mask looks exactly like Louis himself. The next hour involves the three trying to replace the king with Philippe (DiCaprio). This is where the film should have begun. The screenplay, by Randall Wallace (who also wrote BRAVEHEART), focuses on the wrong part of the story, and thus destroys what could have been a highly entertaining film. Wallace, who this time also directs the film, seems determined to show that Louis was, in fact, a completely evil person with no redeeming qualities whatsoever. Many people complained about Cal in TITANIC as being too heartless and inhuman. Here's a character that those people should really be complaining against. Louis practically has no good in him, using his crown to pleasure himself. Wallace focuses nearly two-thirds of the film on this alone, and frankly, it gets extremely boring. Most everything that progresses in the "setup" could have been done in half an hour, leaving the rest of the film open for exploration of the dilemmas that surround replacing the king with Philippe, or the problems in the city, or the romantic relationship between D'Artagnan and the Queen Mother, Anne d'Autriche (Anne Parillaud).
Of course, THE MAN IN THE IRON MASK isn't completely horrid. The final thirty minutes is what the whole film should have been: enticing, entertaining, and completely engrossing. The swash-buckling action is what most people have come to see, but we are left with iconic characters skewered to miserable little men who don't pick up a sword for an hour and a half. Instead, Wallace hopes that the melodramatic scenes towards the beginning cover up any poor writing. It doesn't. It does, however, make the audience more aware of the flaws, as we constantly have more time before something interesting happens. And yes, I will admit it--I nearly dozed off twice during the film. Granted I was tired prior the film, but normally a movie will keep me awake throughout. THE MAN IN THE IRON MASK had nothing to keep my interest, and only towards the end did I sit enthralled. Of course, it really isn't worthwhile to sit through ninety minutes of poorly constructed and convoluted story telling to get to these thirty minutes of refreshing and energetic action.
One of the most obvious flaws of the film lies in the dialogue. While watching this movie, I was more aware than ever of how film is such a different medium from the stage or a novel. The silver screen has the ability to show what the characters think or say, and yet most films lean towards dialogue to propel the narrative. Sometimes this is effective (THE USUAL SUSPECTS), but here it isn't. Lines like "I am doing this because I feel guilty" are almost laughably oblivious to the cinematic strategies that could have been implemented to portray this same feeling. There is also an incredible amount of anachronistic humor, such as Porthos' mannerisms. Did people refer to breasts as "tits"? Did people just passively "break wind"? And one of the most obvious attempts at cheap humor comes when Porthos tries to kill himself by hanging himself (he also happens to be nude at this time). I wonder if Alexandre Dumas had written these into his novel, but I doubt it. It seems that he would have more taste then to lower himself to the inclusion of bodily functions for humor. Over time, the "playing-for-the-audience" humor becomes more annoying than funny.
The cast does its best to work with the material at hand. However, DiCaprio is definitely miscast as King Louis/Philippe. DiCaprio is actually rather good as Philippe, but considering that two roles had to be played by the same person, DiCaprio wasn't a good choice. This is yet another Hollywoodism, as producers try to benefit from his popularity with the young women (though I bet they didn't realize how much his success with TITANIC would help the film). As Louis, DiCaprio is almost unbearable to watch. Perhaps this is just due to the writing, but his cocky appearance is more of an artificial try at seeming important. His well-mannered Philippe is fully realized, though he doesn't come into play for a very long time. But it is Gabriel Byrne who steals virtually every scene in the film. His thoughtful and emotional performance is the most interesting and captivating, and his character does get quite a bit of screen time (though I wish it would have focused on him more). John Malkovich is energetic and fun as Athos, and Peter Sarsgaard does a frightfully realistic impersonation of his son. Depardieu is just annoying as Porthos, as he tries to hide his French accent (which is rather ironic considering that this is the one time that he actually should have one). Jeremy Irons is deliciously mysterious, as we can't determine whether or not he is a good guy or a bad guy (though it probably could have been even less clearly defined). Both Anne Parillaud and Judith Godrèche provide nice and understated performances as the only two important females in the story. But Byrne steals the film, and his scenes with Parillaud are some of the most energetic in the whole movie.
As production values go, THE MAN IN THE IRON MASK is top-notch. The sets are visually stunning, with a castle that defies verbal explanation. The lush scenery radiates in each and every scene. The costumes are appropriate and provide an equal to the scenery. The cinematography captures the film with an almost dream-like quality. The camera captures the costumes and sets with pleasure, showing off the incredible amount of work that must have gone in to producing the film. The score by Nick Glennie-Smith is lush and epic, making it seem just like the period piece that it is. However, sometimes the music jumps too quickly from cheerful to depressing. But overall, the music is probably the best thing in the film.
THE MAN IN THE IRON MASK is rated PG-13 for sequences of violence and some sensuality/nudity. With gorgeous cinematography (the unveiling of the man in the mask is the best scene, visually, in the film) and a wonderful supporting cast, one would have thought this movie would have been better than it really is. With no solid foundation from the screenplay, everything else becomes window dressing, making a poorly constructed film look better than it is. It's sad that such a good and talented cast is wasted in this motion picture. It just goes to show that the writing is probably the most important feature in a film. Even Wallace's confident direction can't save it. Overall, just a big disappointment. My recommendation: go see TITANIC again, and help it become number one for a thirteenth week.
Reviewed by Respect ([email protected])
http://www.aros.net/~respect/movies.html
"We all go a little mad sometimes!"
--- Norman Bates, PSYCHO
(Which also explains many of my reviews)
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