The Count of Monte Cristo
Director Kevin Reynolds, who previously made Robin Hood:
Prince of Thieves and Waterworld, has overcome a somewhat
spotty track record in this terrific adaptation of Alexandre
Dumas' book.
The story concerns Edmond Dantes, a naive young sailor who is
betrayed by his jealous and opportunistic friend, Fernand (Guy
Pierce), and is wrongly condemned to the island prison of Chateau
D'If. His hopes shattered, Edmond's solitary despair is one day
interrupted by Faria (Richard Harris), who emerges from the floor
of Edmond's cell in a failed attempt to tunnel his way to freedom.
Faria knows of a buried treasure hidden on the tiny, remote island
of Monte Cristo, and in exchange for Edmond's help in tunneling,
agrees to split the treasure with him. Edmond manages to escape
but his years in the stir have planted bitter seeds, and his
concept of right and wrong have been replaced by a cold amorality
as he sets out to ruin those who ruined him.
Exciting action sequences and razor-sharp swordplay are two of
this film's most engaging virtues-nor are they in small supply.
Shot in both Ireland and Malta, the production is awash in exquisite
painterly cinematography.
Director Reynolds wisely steers away from letting the film get
too dark, and sets an effective pace for the overall story. But
aside from the technical strengths at work here, the film presents
some particularly good acting as well.
At the outset, Edmond (Jim Caviezel) is such an utterly naive
simpleton that it is hard to respect him. His personal odyssey
is so transforming, however, that he returns completely changed.
Caviezel impressively pulls off this difficult characterization,
transforming Edmond from a bumbling patsy to a dark enigma, balancing
both the protagonist's change and consistency with persuasive
conviction. And as Edmond's nemesis Fernand, Guy Pierce is as
conniving as a snake, and proves a worthy bad guy.
It is also worth noting that The Count of Monte Cristo
skillfully avoids the common trap of the villain being more entertaining
than the hero (a problem which plagued Reynolds' Robin Hood).
Rather, Caviezel is firmly in command in this film, and the viewer
at once roots for and pities him.
While this particular genre suffered more than its share of indignities
during the 1990s (as in The Three Musketeers, The Man
in the Iron Mask, and yes, Reynold's own Robin Hood),
The Count of Monte Cristo proves a refreshingly sincere
effort, free from trendy stars, pop songs, and other glitzy Hollywoodisms.
By no means a classic, The Count of Monte Cristo is nevertheless
a great-looking adventure yarn, with adrenal action, terrific
acting, and a good (but happily not didactic) moral message.
Paul Andrew MacLean
© 2002
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