Customer Reviews

The Count of Monte Cristo [VHS]

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After attending the release of "The Count of Monte Cristo," a friend made the remark that he believed the movie could benefit from additional fight sequences. Immediately my mind shot back to last year's "The Musketeer," also based (rather loosely, I might add) on another of Alexandre Dumas' famous classics. In that film, character development, story, and tone were sacrificed for the sake of creating yet another movie in which a choreographer of Chinese descent was allowed to make an impression on action aficionados by dazzling them with techniques reminiscent of "Crouching Tiger, Hidden Dragon."

What a relief that this latest adaptation of a Dumas novel strays from the usual clichés and redundancy of bringing a classic work of literature to the screen, coming out as a sturdy, well-guided costume drama that combines action, intensity, passion, and most importantly, revenge. With a script that keeps much of the novel's intricacies intact, a cast befitting of their roles, and a director who keeps things interesting at all times, this is one swashbuckling adventure that pleases in all fields.

The story 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 still harbors a slight jealousy for Dantes, who has just been promoted to captain of his vessel, allowing him the opportunity to marry his longtime love, Mercedes (Dagmara Dominczyk). Overcome by envy, Mondego concocts a vicious plan 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.

During his years of imprisonment, Dantes' resolve is strengthened by brutal beatings, and by his friendship with fellow prisoner Faria (Richard Harris), who teaches Dantes to read and write, the articulate moves of swordplay, and offers him the location of a long-lost treasure that would give him the means to exact his revenge on those who have wronged him. Faria's death provides Dantes the method of escape he needs, and once out, he begins his quest.

The second half of the movie takes the movie to new heights of interest, as Dantes makes his big entrance in Paris as the Count of Monte Cristo, bent on exacting his revenge on Mondego, now married to a repressed, sullen 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 cold, and many will delight in the cooly calculated revelations and confrontations that arise as Dantes's master plan begins to unfold.

Accompanying this feeling of satisfaction is the movie's wondrous appearance and execution. The look and feel of the film drips with the quality of the swashbuckling adventures of yesteryear, with its themes of vengeance and nobility, it's glorious costumes and set design, and a final showdown that provides a slam-bang finish complete with suspense and fist-clenching thrills. Reynolds, and screenwriter Jay Wolpert, have realized the novel for the screen in a manner that is pleasing to the eye and the mind, keeping in touch with everything that has immortalized Dumas' work without reworking key moments to make room for modern artistic influences.

If this weren't enough to please popcorn audiences and literary buffs, the cast is completely remarkable. 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 plan. His chemistry with leading lady Dagmara Dominczyk is a welcome slice of old-fashioned romance, while his scenes with Guy Pearce provide a nice contrast of nobility and jealousy, which Pearce perfects in his performance as Mondego. Also worthy of noting are the appearances of Richard Harris and Lius Guzman, who provide humorous touches throughout.

More than anything else, this latest big-screen version of "The Count of Monte Cristo" is a wonderful 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 find a remake of a classic novel of the quality of The Count of Monte Cristo currently available. I happened to nonchalantly choose this film at the DVD outlet as a source of viewing background for an evening of desk work. WRONG! This superbly made film of the Dumas' novel is excellent and gripping on every level. The quality of the film, shot in Ireland and Malta, is visually stunning, the story remains true to the original, and the cast is outstanding. James Caviezel makes a star turn in the title role, aided by the always excellent Guy Pearce, the veteran Richard Harris, the here venomous James Frain, a fine and very different role for Luis Guzman, and the elegantly beautiful Dagmara Domincyzk. The movie is beautifully paced, the long prison scenes allow Caviezel and Harris to create tremendous rapport, and the age old theme of REVENGE has rarely been played out so well. This is a beautiful period piece, finely photographed and scored and edited and directed. For a taste of just how exciting the old tales can be visually, treat yourself to an evening with The Count!

If you have never discovered the wonderful world of Alexandre Dumas, I urge you to run, not walk to the local library or bookstore and obtain a copy of "Le Comte de Monte Christo." I also recommend reading the unabridged version of this classic tale about a man who takes revenge on his enemies. One thing is certain: do not attempt to take the lazy way out by watching this adaptation of Dumas's novel. Two hours will never be enough time to adequately express the majestic beauty of this novel written by a phenomenal storyteller. Having said that, I enjoyed immensely this version of the story starring Jim Caviezel, Guy Pearce, and Richard Harris. Period pieces are often fun to watch, and this one is no exception. With a few problematic exceptions, "The Count of Monte Christo" is an entertaining film.

The tale, if you are not familiar with it, focuses on a French sailor named Edmond Dantes. On a trading trip back to Marseilles, Dantes had the misfortune to stop at the island of Elba, the home of the exiled emperor Napoleon Bonaparte. With his captain dead, Dantes arrives in port and is promptly promoted to become the new captain. This step up in status angers several people around Dantes, specifically Danglars, Villefort, and Mondego. The three conspire to have Edmond arrested on charges of treason and thrown into a political prison called the Chateau D'If. Dantes spends years suffering in solitary confinement, although he eventually meets an elderly prisoner named Faria who educates him while they plan their escape. Moreover, this prisoner tells Edmond about a fabulous treasure that could be his for the taking. Eventually, Dantes escapes and embarks on a series of adventures that finds him returning to seek revenge against his enemies under the name "Le Comte de Monte Christo."

This very short description of Dumas's novel obviously leaves out much of the plot. It also highlights the inherent difficulties in translating "The Count of Monte Christo" into a two-hour film. There is just too much detail, characters, and sub-plots in the novel to work with. The revenge plots Dantes formulates against his enemies alone are of such length and complexity that it would take hours to encapsulate them on the silver screen. Throw in the sub-plot of the Italian bandit Luigi Vampa (who does appear in the film), which is of immense importance in the novel, and it is impossible to adequately convey the full majesty of this classic on celluloid. Fortunately, this film manages to entertain while retaining key elements of the written story.

The first part of the movie hews closely to the novel with a few notable exceptions. The film begins with Edmond and his friend Mondego landing on Elba, where they have a shoot out with British security forces before personally meeting the deposed emperor. Back in Marseilles, we meet Mercedes, Dantes girlfriend and a character who plays a big role in the written story. The filmmakers do insert a warden for Chateau D'If, played by actor Michael Wincott, who does not appear in the book. If you are familiar with Wincott, you will remember his voice and his presence. He makes a great addition here and has the best lines in the film.

By the time Dantes returns to society as the Count, the film diverges wildly from the story. The revenge Edmond seeks here is too pat and too easily resolved. In the book, his vengeance is intricately planned and executed slowly over many, many pages. By shortening this sequence, the filmmakers sacrifice the suspense of the novel to time constraints and a waning attention span common in today's moviegoers. To be fair, the movie never tries to be a literal interpretation of the book (or so says screenwriter Jay Wolpert in an interview on the disc). In some ways, deviating from the book does make the story more compelling. The sword fights are great fun to watch, especially the final showdown between Dantes and Mondego. The scene where Dantes provides a way out for Villefort and then pulls back at the last second is a nice touch as well. Overall, although I think more elements of the book should have been kept in the story, the movie succeeds.

Many extras on the disc make this well worth picking up. There is a short documentary about Alexandre Dumas, a location documentary, four deleted scenes with commentary, a film commentary from director Kevin Reynolds, a detailed explanation on how the sword fights were shot and choreographed, and an interview with writer Jay Wolpert. The picture quality and sound is top notch. I recall that this film disappeared from the theaters quickly, perhaps due to an aversion for period pieces or competition from one of those effects laden clunkers they foist on us every few months. I found "The Count of Monte Christo" entertaining and technically well done, and would certainly view it again.

This most recent adaptation of Alexandre Dumas' classic novel isn't going to please all the fans, particularly those who demand rigorous adherence to the source material (I never did understand such people's way of thinking; a movie is never bad just because it strays from the source) but it most certainly will please moviegoers in the mood for a period piece adventure, and as such a film, The Count of Monte Cristo never fails to entertain for every bit of its running time.

Jim Caviezel stars as Edmond Dantes, a rather poor and uneducated man who has a life that his rich friend, Fernand Mondego (Guy Pearce) envies. Dantes has just been promoted to captain of his ship after he and his crew returned from a brief, unanticipated stop in Elba, where Napoleon had given Dantes a letter to give to a "friend." Mondego is particularly jealous that Dantes' fiancee is Mercedes (Dagmara Dominczyk), their childhood friend who has grown into an utterly beautiful woman.

Mondego sets out to destroy Dantes life by telling French officials of the letter, which leads to Dantes' arrest. He is banished in a prison located on an island rather far from the mainland. As the years pass, another prisoner, Faria (Richard Harris), actually tunnels his way into Dantes cell. With his help, Faria believes they can dig to the outer wall, and in return, he will teach Dantes how to read, write, and fight with a sword. As soon as he makes his escape, Dantes plans his vengeance against those who betrayed him.

There's actually a LOT more plot than what I've stated, which probably already sounds hefty, but there are a lot of things I'd rather not give away. While not without some flaws, The Count of Monte Cristo is rousing entertainment and is probably the best period piece adventure in recent years (personally, I found it more enjoyable than The Patriot, Rob Roy, and The Last of the Mohicans).

The film's first seventy minutes represent marvelous entertainment, consistently gaining momentum with every scene that goes by as we grow more and more compelled by the story. The film stumbles only slightly in the third act, when Dantes eventually encounters all those who destroyed his life so many years ago, and sets in motion a plan for his own vengeance. It's in this lengthy segment that a few moments drag (but only a few) and some scenes feel a little hard to swallow (that Pearce's Mondego wouldn't recognize Dantes). The climax feels a little silly, in that seemingly all the lead characters pop out from nowhere to either fight or reveal long-held secrets.

But thankfully, such flaws are only mild and hardly detrimental. This is a well-acted, well-written, and surprisingly well-directed tale of revenge. As Dantes, Caviezel excels, making a believable transformation from a kind-hearted, innocent man to one whose heart has been hardened through so many years. Guy Pearce chews the scenery quite well as Mondego; he seems to be having a great time playing the greedy antagonist. It's nice to see that Pearce, who usually plays likable characters (as in L.A. Confidential and The Time Machine), is up to the task of giving us a villain to hiss at.

The other performances aren't quite as vital, though Richard Harris is good as Faria, and Luis Guzman is often hilarious as Dantes' right-hand man (the scene where Guzman tells Dantes how to handle the massive amounts of gold they just found is the biggest laugh I've had all year). Dagmara Dominczyk is pretty decent, though her acting is mostly overshadowed by her beauty, a back-handed compliment, I suppose.

The Count of Monte Cristo actually doesn't feature that much in the way of adrenaline-pumping action. Despite all the claims this is a swashbuckler, there are only three swordfights (and one knifefight), and each of these scenes last no longer than maybe two minutes. But the appeal of this film isn't in the action, it's watching a plot that unfolds with little twists and turns that, though often expected, engaged me because I cared about the situation and the fate of the characters.

There was obviously a lot of work put into the way this film looks. The cinematography is gorgeous and the sets are magnificent, with splendor I have rarely seen rendered so well in period pieces. The film was directed by Kevin Reynolds, who may yet have a career again after his critical disaster, Waterworld (which actually wasn't half-bad). Highly recommended, The Count of Monte Cristo is great fun all the way.
**** 1/2 out of *****

Not since Mask Of Zorro have we had an old fashioned revenge movie that played on classic cinema rather than tendency of movies today to be loud and bloody. I was fortunate to see this movie with a sneak preview audience.

James Caviezel is fantastic in the role of the Count. He is very believeable as a simple, humble man in the beginning and then the torn, angry, revenge seeking Count later on. The movie has many similar elements to the aforementioned Mask Of Zorro, but has enough of its own identity for you to note the similarities, but not be distracted by them. The beautiful actress Dagmara Domincyzk plays the love interest. There are many closeups of her face and she is stunningly beautiful and convincing. Guy Pearce is a more than able bad guy, successfully creating a character that you come to despise thoroughly by the end.

The audience that I viewed this with absolutely loved it. There are sprinkles of light comedic lines throughout the film and the audience was delighted with them all. The scenes where the Count is exacting his revenge registered the loudest response from the audience, as many were very vocal in their approval of the revenge being dished out.

It had been a while since I viewed a movie where the audience broke into a loud ovation at the end. This one received such an ovation and I concur.

Alexandre Dumas' classic adventure novel of revenge and romance, THE COUNT OF MONTE CRISTO has been endlessly made and remade in various films and TV series. It's no wonder as the book's themes of betrayal and payback are timeless. Kevin Reynolds directs a solid and full blooded version of this classic that features a star-making turn by James Caviezel in the title role. Caviezel never hits a false note in his role of Edmond Dantes, the sailor sent to prison on trumped-charges and who eventually escapes to seek his revenge on the 3 men who conspired against him. Caviezel easily handles both the innocence of the young Dantes and the bitter cynicism of his vengeful alter-ego. Richard Harris, who is making a cottage-industry of playing quirky supporting roles, provides warmth and humor as the Abbe' Faria, the fellow prisoner who mentors Dantes. Dagmara Domincyzk is lovely as Mercedes, Edmond's fiancee. However, Guy Pearce, who plays Dantes' romantic rival and former friend is a little too over-the-top with his mincing and sneering portrayal. At one point, I began thinking he needed a top hat, handlebar mustache and cape to complete the picture.
Filmed on location in opulent locations in Malta and Ireland, THE COUNT OF MONTE CRISTO is a feast for the eyes. At one point, the Count makes a grand entrance in a hot-air balloon that clearly illustrates his power and mystery.
The screenplay is a solid enough adapation of the rather long novel, although it does throw in a couple twists that were not in the original. After Dantes appears in his Count identity, the pace of the film really takes off as plotlines are shortened and tightened. The action scenes are also top-notch.
THE COUNT OF MONTE CRISTO is an entertaining and fun swashbucklng type of flick that they just don't make any more. As such, it is easily the best film of this genre since THE MASK OF ZORRO which, in an ironic twist, also used elements of Dumas' novel. I definitely would recommend this film to adventure lovers and romantics everywhere.

"The Count of Monte Cristo" by Alexandre Dumas is one of the great adventure novels of all time, and one would think that it would be the perfect story for an adventure/supense/period film. Indeed, Kevin Reynold's version is the latest in a long line (the Hallmark televised version may be the best). Sadly, none of them have done the written work justice. True, the novel is a complex and detailed work that would require a rather special treatment on the screen. Reynold's version is a good movie, but honestly it is not "The Count of Monte Cristo." Far too much dramatic license has been taken here in changing the story, the characters and the ending. Significant characters were left out, parts of the story are not even aluded to, and some things were added to create a "hollywood" ending (no, the book ends much differently than this film...and it is far more satisfying). This film is nicely photographed and produced and is largely well acted (except for the portrayl of Napoleon which does not work...oddly enough Napoleon is never actually "seen" in the novel, he is always off-stage, so to speak). Enjoy this film for what it is, then treat yourself and pick up a copy of the novel.

Like the previous reviewer, I too was fortunate enough to catch this last Tuesday at a sneak preview in NY. This was simply magnificent in every possible way. The acting, script, cinematography were stunning. I just want to say something: Todays moviegoers want mass market drivel. This is art. But at the same time it's an exciting, action-packed, plot AND character driven story during which any viewer with a heart and a soul will be on the edge of his or her seat. JIM CAVAZIEL, if there is justice in this world, will become a HUGE A-list leading man as a result of his BRILLIANT performance. No other actor out there could have played the Count in this movie; he was made for this, his role of a lifetime, and he deserves an OSCAR FOR IT. Guy Pearce, so sexy and sympathetic in his previous roles, is so believable as a villain in this movie, that one walks out of the theatre despising his fictional self - sorry Guy this just means that you are a GREAT ACTOR - and big things are waiting for him as well - all actors in this movie are extremely talented and are irreplaceable.
PLEASE GO SEE THIS MOVIE, ONE AND ALL - ITS OSCAR CALIBER,CLASSIC STUFF**DO NOT BE DISCONCERTED BY THE FACT THAT YOU MAY ALREADY KNOW THE STORY - IT'S A NEW, MODERN, ORIGINAL TWIST - IT'S EVEN GOT SOME COMEDY - A MUST - SEE! AND I'VE SEEN EM ALL...I WILL PAY TO SEE IT AGAIN. AS ABOVE, AN AUDIENCE FULL OF MANY JADED PROFESSIONAL MOVIE CRITICS GAVE IT A STANDING OVATION AT CLOSING CREDITS...

I have read the (unabridged) Count of Monte Christo book at least 4 times and can quote many of the scenes and dialogue. However I am not a literalist when it comes to Hollywood, because movies are not a literary medium. The best we can hope is that Hollywood captures the essence of the book, which I believe the makers of the Count of Monte Christo have done - and done very well. While I agree that it is not a faithful retelling of Dumas' original, it is a fine film that captures the heart of Dumas' message: Vengeance is, (and should be) the Lord's.

Ultimately, Dumas' novel was about the ravages of revenge, both to the avenger and to his victims. Director Kevin Reynolds and screenwriter Jay Wolpert's celluloid rendition captures that message in a way that is both entertaining and beautiful. Unlike many Hollywood films these days, this one has charm and heart, which allowed me (an avid movie buff) to overlook its occasional imperfections.

Jim Caviezal plays the tortured Count with aplomb. His metamorphosis from guileless youth into the brooding, devilish Count is convincing. No small feat considering young and old Dantès are polar opposites.

Guy Pearce plays the treacherous libertine, Mondego, with a light, foppish touch, making the character all the more frightening. His lines are the best in the film, vicious and manipulative, but delivered with sardonic self-composure.

Richard Harris was the right choice for the Abbé Faria. During Dantès' bleak imprisonment, Harris lightens the screen with his earnest optimism and sharp wit. He is more animated than in his recent role as Dumbledore in Harry Potter, even fencing with Caviezal, despite his advanced age.

Dagmara Dominczyk is lovely as Mercedes, but of course lacks the vapid self-immolation of the character in the novel. Hollywood loves tidy endings so she is reunited with Dantès while the Persian princess, Haidee, (Dantès' real paramour at the end of the novel) is not in the film. Still, Dominczyk's elegant grace is winning, despite the weepy dialogue she is sapped with. She and Caviezal are what movie stars should look like.

Luis Guzmán is fun as the Count's dutiful sidekick, Jacopo. Not surprisingly, he is the film's comic relief and acts as a bridge between our generation and Napoleonic France. His lines are more modern slang than classical prose, but it works, especially with Guzmán's East L.A. lilt.

Reynold's and Wolpert had no easy task - adapting one of the world's favorite stories to the Big Screen. Of course, the novel is a much more complex and philosophical work than the film, and that is to be expected. A true adaptation would likely be 4-5 hours long. And, yes, they have taken liberties with the book - the ending especially. Still, the movie stands on its own as a stirring and inspiring tale of treachery, romance, revenge, and repentance. It is one of my favorite movies ever, and that's saying something, since I hate almost everything. Buy it. You won't be disappointed.

This is definetly not Dumas Count of Monte Cristo. It doesn't follow the book close at times and is far fetched from it at others. It is however a great movie and a great way to introduce this young generation to Dumas.

The Count of Monte Cristo tells the tale of Edmund Dantes. A man that is imprisoned for a crime by his best friend Fernand Mondego that he did not commit. He spends 13 years in jail at the Chateau'If.(thats not how you spell it but it's close enough for me) It's there that Edmund meets a fellow prisonman that trains him in literature, economics, and swordplay. Dantes gets out of jail then goes a spree for revenge to get the men who put him jail.

This is a great story of revenge. Jim Cavaziel is perfects as Dantes. He does a great job. He has a swagger and plays Edmund great when he poor and when he's rich. He shows his abilities as a good actor because of the different levels to the character. I'm really impressed with him and hope to see him more in the future.

Guy Pearce is good as Fernadn Mondego. I was first impressed with Pearce in L.A. Confidential. It's good to see him finally showing his acting abilities again. He plays a great bad guy. You can't stand his character and that's because Pearce plays him so good.

This is an awesome tail of revenge. If your a diehard Dumas fan you won't like this. I'd reccommend the Richard Chamberlin version for you. However if you like a fast paced tail of revenge full of swashbuckling this is the film for you. It's a great action film that reminds us why we go to the movies: To Be Entertained. You'll like this one.