Sarah reviewed for the Sunday Star Times until 2019. After a career change to secondary school teaching, she now she works in alternative education with our most disadvantaged rangatahi.
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Smoking gun: Pierre Niney takes aim. Photo / Supplied
Smoking gun: Pierre Niney takes aim. Photo / Supplied
The Count of Monte Cristo, directed by Alexandre de La Patellière and Matthieu Delaporte, is in cinemas now.
You may well ask if we need another rendition of this old French novel. After all, its tale of revenge has been adapted for the screen dozens of times and in manylanguages and eras. This big-budget French-language version, a box office smash at home, arrives just as an Italian-French-produced English-language miniseries heads to television. But the movie, from the writers of the recent Three Musketeers movies, answers that question with a resounding Oui!
Alexandre Dumas’s classic stands the test of time, superheroes and CGI in this unashamedly long – three hours – yet consistently compelling historical action-adventure.
It’s 1815 France and merchant sailor Edmond Dantès (Pierre Niney) gets unintentionally embroiled in a plot involving the deposed emperor Napoleon exiled on Elba. Thrown into prison on trumped-up charges, he faces a miserable future confined in total isolation until he makes contact through the wall with the inmate of a neighbouring cell. During many years, Dantès becomes the friend and student of the scholarly Abbé Faria (Italian actor Pierfrancesco Favino) as the pair dig their way to freedom.
Jumping ahead to Dantès’ emancipation (a thrilling moment best unspoiled, even if you’re familiar with the novel), he returns to Paris in disguise as the Count of Monte Cristo, where the hitherto kindly Dantès turns into a vengeful opponent of the many who have wronged him.
The Count of Monte Cristo is never less than enthralling – a kinetic, thorough and completely engrossing retelling that propels Niney’s wily Dantès through a story of Mission: Impossible masks and embittered revenge. The supporting cast all look like they belong in the era, while the old-fashioned story is underscored by a surprisingly effective modern soundtrack. It’s a great introduction to a classic, as well as a worthy rediscovery for those who grew up with the book.
