Everything about this robust and very enjoyable retelling of the Alexandre Dumas classic is epic in scale: from the lavish sets and the orchestral score to the bold performances and the hefty running time. But it is an epic approach that is well-earned by writing and directing duo Matthieu Delaporte and Alexandre De La Patellière (who collaborated on the screenplays of the recent films, a similarly swashbuckling Dumas adaptation). This is a devilishly handsome old-school tale of treachery and intrigue that zips through its nearly three hours in a blur of swordplay, glorious costumes and prosthetic rubber facial disguises.
This latest version of the much-adapted tale is not about taking filmmaking risks or storytelling liberties. It is true to the spirit of the source material, if not entirely true to the original story; it aims for quality over innovation in its approach. While it lacks some of the sexual crackle, mischief and ambitious fight choreography of the well-received Musketeers movies, which are probably the closest comparison in terms of the picture’s commercial potential, it is a top tier adventure movie that should find a receptive audience domestically and elsewhere.
Its Cannes Out Of Competition screening is a nice high-profile launch for its French release on June 28; Samuel Goldwyn Films holds the US rights. (The Count also gets another outing this year, in an eight part TV series starring Sam Claflin as Edmond and Jeremy Irons as fellow prisoner Abbé Fa.
