The source material is ripe for insightful commentary and character work, revealing the heavy toll that hate and revenge take on the soul, but the film sort of loses focus on these concepts in favor of more traditional dramatic beats and resolution. On a thematic level, though the movie deals heavily with the ideas of vengeance and forgiveness, its examination of these concepts is disappointingly superficial. The mixture of heavy exposition right in the thick of action clashes, and there is just an overall lack of finesse. Going along with some of the structurally awkward aspects of the film's early scenes, the climax suffers from some clumsy staging and editing as well. The Count's eventual vengeance also feels pretty rushed, and it would have been nice to spend a bit more time with each of his victims. This is understandable, as it really is a lot to try and cram into two hours, but it still feels undercooked. The first third of the film feels a little clunky in structure and editing, and several plot points, like Dantes and Mandego's friendship, are never fully realized. Dagmara Dominczyk does a wonderful job as the gorgeous Mercedes, and her scenes with the Count effectively reveal the heartbreak and pain that led to some seemingly shameful decisions from her character.įor the most part, the script and direction do an adequate job, but there are indeed some stumbles throughout, usually related to pacing. The character can come across as pretty one-dimensional, but the actor brings a certain intensity and respectability to the role that compensates for a lack of development. Pierce also does a respectable job as the villainous Mondego. It's his performance that ends up selling this plot point, and in the hands of a lesser actor the film itself may have unraveled. While this at first seems rather unrealistic, the reality is that Caviezel's dramatic changes in demeanor and more subtle alterations in appearance, do make the man almost unrecognizable. When he finally becomes the Count of Monte Cristo, friends and enemies from his past no longer recognize him. The performances from the cast are also a highlight, and Caviezel's gradual transformation comes across as believable and emotional. Director Kevin Reynolds brings a nice level of competency to the proceedings, and stages many of the sword fights and action scenes with some welcomed visual thrills. This is meant to play like a sweeping adventure, full of action, romance, impressive costumes, elaborate sets, and exciting set pieces, and on that front it mostly succeeds. While some big fans of the book might balk at all the changes, the results are still entertaining and though the alterations can be a bit too simplistic at times, they are understandable. Though it shares many core aspects with the celebrated novel, the script is a pretty basic Hollywood filtered adaptation, simplifying the dense work into a traditional two hour, three act structure. Now possessing the means and know how, he plots to systematically enact swift vengeance on those that ruined his life. Forever changed by his hardships, the once unimposing man transforms himself into the dashing and enigmatic Count of Monte Cristo. Ignited by a thirst for vengeance, Dantes hones his skills and eventually escapes. Unfortunately, jealousy fuels tragedy, and after being betrayed by his best friend, Fernand Mondego (Guy Pierce), Dantes is falsely imprisoned for treason. Unfortunately, despite several strengths, the movie still features some clunky editing and underdeveloped themes.īased on the Alexandre Dumas classic, the story follows Edmond Dantes (Jim Caviezel), a kind but naïve young man who wants nothing more than to marry his beautiful love, Mercedes (Dagmara Dominczyk), and live a nice, quiet life. From director Kevin Reynolds, the 2002 film adaptation takes the core of the novel and turns it into an entertaining and occasionally exciting Hollywood production. 'The Count of Monte Cristo,' is such a story, and its enticing adventure and deep themes have fueled several retellings and imitators over the years. Amongst all the many possible motivations for a character, is there really a more powerful drive than pure, unfettered vengeance? Is there a call to action that can more decisively get an audience behind a protagonist's journey, than revenge? Indeed, throughout all of fiction, retribution is a commonly reoccurring force, propelling narratives to often bloody and tragic ends seeped in moral uncertainty.
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