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Every now and then I am fortunate enough to see a movie that reminds me just why it is I go to the movies as often as I do. The Count of Monte Cristo is one such movie. Its old-fashioned quality is impossible to resist, and its bold undertones are worthy of admiration. The theme of God playing a role in our everday lives is rare indeed in most films these days, for both good and bad reasons. My hat, if I had one, would be off to The Count of Monte Cristo for addressing the subject honestly and undeniably, without coming off as preachy.
From a secular standpoint (setting aside the moral of the story, and the themes throughout), the movie is still quite impressive. We are made to feel the happiness of Edmund Dantes and, later on, we are made to feel his suffering, to great effect. This aspect of the film is enhanced greatly by Guy Pearce, who, playing Fernand Montego, does an absolutely wonderful job of making us feel just the way we're supposed to.
Nearly as impressive is the performance of James Caviezel, who has had roles in Wyatt Earp, G.I. Jane, The Thin Red Line, and Pay it Forward, though I imagine he's more well-known through his roles in Angel Eyes and Frequency. The other major roles are played well. Obviously, Richard Harris is more than adequate in the role of Faria (The Priest). Out of place, amongst so many other fine performances, though, is Luis Guzmán, who plays Edmund's companion as he seeks his vengeance. He sounds exactly the way he did in Traffic. No attempt is made, as far as I can tell, to sound any different. Group that with a few modernish-sounding lines, and his character on the whole leaves much to be desired.
The movie is a little off-beat, admittedly. Some people will find certain scenes very strange. Example: a scene where Edmund is fighting, and constantly falling and injuring himself. He's yelling in anger as well. Some may find this comical, but, to those really following the story, it is anything but. It shows us a man completely horrified at what is happening to him. He is lunging out at those responsible in any way he can, no matter how futile his attempt may be, or how ridiculous he may look while trying. This adds an important element of realism to the show (for that is what it is. It is, basically, one big show).
The story, which is based on a classic novel by Alexandre Dumas père, is wonderful. From the underlying messages, to the dialogue, to few small twists, it is carefully crafted, and flawlessly executed. There are several inspiring lines (two of which Richard Harris delivers to perfection) , and very few that can be called corny, or flinch-inducing. The fighting itself is decent. If you're coming for pure action, you won't find much of it. The value of this story lies in happiness, then sorrow, then anticipation, and finally, satisfaction (for most, I'd imagine).
In terms of suspense, there is plenty for those who do not yet know the story. I admit, I have not read the book, and for that, I am now grateful. The finale had me on the edge of my seat -- wondering what would happen...for this is just the kind of movie where the ultimate ending is surely in doubt all the way up until the final conflict. Edmund's drive for revenge is, as we see mid-way through the movie, a very dangerous thing. I could not help but say to myself, more than once "don't do it. Take what you have and walk away. Forget revenge." The movie draws you in to the point at which you can see both sides: the satisfaction he demands by extracting justice himself, and the nobility in turning the other cheek, and being content with making a new life for yourself, without vengeance.
I highly recommend this movie to anyone, whether they've read the book or not. Those who have little to no knowledge of the plot will find it even more intriguing and eventful than I did. It is truly a throwback to the days of films with a genuine air of adventure about them...films that are all too rare today. Movies like The Lord of the Rings: The Fellowship of the Ring and The Count of Monte Cristo, however, are why I go to the movies in the first place. They are a sign; they tell us, very clearly, that there are still those who know how to capture raw excitement, wonder, and adventure, on film.
From a secular standpoint (setting aside the moral of the story, and the themes throughout), the movie is still quite impressive. We are made to feel the happiness of Edmund Dantes and, later on, we are made to feel his suffering, to great effect. This aspect of the film is enhanced greatly by Guy Pearce, who, playing Fernand Montego, does an absolutely wonderful job of making us feel just the way we're supposed to.
Nearly as impressive is the performance of James Caviezel, who has had roles in Wyatt Earp, G.I. Jane, The Thin Red Line, and Pay it Forward, though I imagine he's more well-known through his roles in Angel Eyes and Frequency. The other major roles are played well. Obviously, Richard Harris is more than adequate in the role of Faria (The Priest). Out of place, amongst so many other fine performances, though, is Luis Guzmán, who plays Edmund's companion as he seeks his vengeance. He sounds exactly the way he did in Traffic. No attempt is made, as far as I can tell, to sound any different. Group that with a few modernish-sounding lines, and his character on the whole leaves much to be desired.
The movie is a little off-beat, admittedly. Some people will find certain scenes very strange. Example: a scene where Edmund is fighting, and constantly falling and injuring himself. He's yelling in anger as well. Some may find this comical, but, to those really following the story, it is anything but. It shows us a man completely horrified at what is happening to him. He is lunging out at those responsible in any way he can, no matter how futile his attempt may be, or how ridiculous he may look while trying. This adds an important element of realism to the show (for that is what it is. It is, basically, one big show).
The story, which is based on a classic novel by Alexandre Dumas père, is wonderful. From the underlying messages, to the dialogue, to few small twists, it is carefully crafted, and flawlessly executed. There are several inspiring lines (two of which Richard Harris delivers to perfection) , and very few that can be called corny, or flinch-inducing. The fighting itself is decent. If you're coming for pure action, you won't find much of it. The value of this story lies in happiness, then sorrow, then anticipation, and finally, satisfaction (for most, I'd imagine).
In terms of suspense, there is plenty for those who do not yet know the story. I admit, I have not read the book, and for that, I am now grateful. The finale had me on the edge of my seat -- wondering what would happen...for this is just the kind of movie where the ultimate ending is surely in doubt all the way up until the final conflict. Edmund's drive for revenge is, as we see mid-way through the movie, a very dangerous thing. I could not help but say to myself, more than once "don't do it. Take what you have and walk away. Forget revenge." The movie draws you in to the point at which you can see both sides: the satisfaction he demands by extracting justice himself, and the nobility in turning the other cheek, and being content with making a new life for yourself, without vengeance.
I highly recommend this movie to anyone, whether they've read the book or not. Those who have little to no knowledge of the plot will find it even more intriguing and eventful than I did. It is truly a throwback to the days of films with a genuine air of adventure about them...films that are all too rare today. Movies like The Lord of the Rings: The Fellowship of the Ring and The Count of Monte Cristo, however, are why I go to the movies in the first place. They are a sign; they tell us, very clearly, that there are still those who know how to capture raw excitement, wonder, and adventure, on film.