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I sometimes rely on other people to decide which movie I should go see and I'm often pleased with the results. Here's a perfect example. I gave my date a list of eleven movies that I hadn't seen (I'm really behind on the current releases) and that seemed interesting. She chose The Count of Monte Cristo, and although it wouldn't have been my first choice, I was still eager to see it, since Guy Pearce was part of the cast. The Count of Monte Cristo tells Alexandre Dumas' classic tale of a man imprisoned by one of his jealous friends for a crime he didn't commit. Once he escapes from prison, he uses a hidden treasure to exact his revenge on the ones who betrayed him. Director Kevin Reynolds (Waterworld, Robin Hood: Prince of Thieves, The Beast) took up quite a challenge when he accepted to direct this movie, since this is the 23rd adaptation of Dumas' classic novel. Reynolds' last few movies have either been box office duds (One Eight Seven, Rapa Nui) or critical failures (Waterworld), he finally managed to turn the tide and achieve success in both fronts with The Count of Monte Cristo. After 3 weeks of release, the movie has generated $33 Million at the box office and it should end up with about $40 Million, which is better than the current $16-20 Million average.
But the direction is not the only positive aspect of this movie. In fact, I would even say that I have not found a major flaw in it. I wouldn't go as far as saying that this is memorable film, but everything about it is good: the story, the casting, the acting, the cinematography, the costumes, the artistic direction, the editing, etc! However, my favourite strong point of this movie – by far – is the quality of the cast as well as their performance. Edmond Dantes, the main character, is played brilliantly by James Caviezel (Frequency, The Thin Red Line, Pay It Forward). Whenever I see Caviezel on screen, I can't help but compare him to the Fiennes brothers, with whom I think he shares not only some physical resemblance, but talent as well. Caviezel conveys a wide range of emotions, ranging from the very subtle to the very expressive.
Count Fernand Mondego, Dantes' traitor friend, is played with equal talent by Guy Pearce (L.A. Confidential; Memento; The Adventures of Priscilla, Queen of the Desert). I was a bit taken aback by the fact that Pearce plays a villain, but it was like discovering a whole new side of an actor I have grown to appreciate in the last few years. In fact, Pearce plays with such conviction that it didn't take long before I despised the character. Mercedes, the woman in that completes the love triangle, is played by relatively newcomer Dagmara Dominczyk (Keeping the Faith, Rock Star), who reminds me of Isabella Rossellini. Dominczyk was convincing in her portrayal of Dantes and Mondego's love interest and I look forward to seeing this Polish actress on screen again.
Richard Harris (Gladiator, Unforgiven, This Sporting Life) plays the role of Abbe Faria, the fellow prisoner who helps Dantes escape from Château d'If. At the risk of sounding very repetitive, Harris played the role to perfection. He brings depth to his rather uncomplicated character, whether it's by simple hand gestures or by his subtle facial expressions. Harris might be 71 years old, but he clearly has not stopped caring for his roles.
The rest of the cast is composed of character actors that may seem very familiar: Luis Guzmán (Traffic, Magnolia, Boogie Nights), James Frain (Sunshine, Elizabeth, Reindeer Games), and Michael Wincott (Alien: Resurrection, The Crow, Robin Hood: Prince of Thieves). While these actors may not be able to carry a movie on their own (mostly for lack of popularity and not lack of talent), they are often what binds a movie together. For instance, Guzmán brings a lot of comedic relief as Jacopo, a man who owes a life debt to Dantes. The movie also features Henry Cavill in his screen debut as Albert, the son of Mondego and Mercedes. Cavill still has to mature as an actor, but his performance was very good for a newcomer.
The only flaw that I could find in this movie is that no one seems to be able to recognize Edmond Dantes when he comes back from the Château d'If, but this is most likely better explained in the book. It's a bit frustrating to see that not even his ex-fiancée, his friend or his former employer can recognize him right away, whether from his physical appearance, or at least by his voice. But I think that this is just one of these things we have to take for granted. The selection of movies offered between January and April is usually not impressive, since this period is one of the slowest seasons for movies, but The Count of Monte Cristo is one movie you don't want to miss. It's intelligent, poignant, and thrilling. You wouldn't want to miss that now, would you? Reviewed on February 17, 2002 |
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This page was last updated on: Sunday, 21-Mar-2004 16:20:34 CST © 1998-2004 Luc-Rock Paquin. All Rights Reserved. All movie images © by their respective owners. Used with permission. Before "borrowing" something from my site, please ask me. "Reel Canadian Movie Critic" logo by FranclyGraphic.com. 
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