Except for novels that I had to read for English 200 back in university (unless you count the time I read "The Brothers Karamazov" for fun - don't ask), most of my exposure to the literary classics came from the Classics Illustrated comics. I always enjoyed the fact that they took great stories, cut through the chaff, made them easily accessible, enjoyable and I could be done in less than a half an hour. Apparently directors read them too.
Edmund Dantes is a simple man with simple desires, whose only goal in life is to save enough money so that he can wed his beautiful fiancee. Unfortunately, his belief in all that is good and trust in his friends are the very qualities that mark him as the perfect patsy. Convicted of nonexistent crimes, Edmund is sent to die in a hideous hellhole that masquerades as a prison. Bereft of hope, and having denounced god, there is only one thing that keeps Edmund alive -dreams of escape and revenge.
I slipped into this film hoping that it would provide me with two hours of enjoyment - it greatly exceeded my expectations. The Count of Monte Cristo is a film with something for everyone: romance, betrayal, intrigue, humor, sword fights It embodies the spirit seen in the Indiana Jones trilogy - present the viewer with pure entertainment, and don't insult them.
James Cavaziel's past performances have been less than stellar. More importantly, they have failed to demonstrate his dramatic range. As Edmund, he is given the opportunity to create a character who undergoes stark changes, both physically and mentally: Edmund metamorphoses from a shockingly naïve, young man, to bitter, bedraggled wretch with a tenuous grasp on reality, and finally into a scheming Machiavellian rake. The transformation is both smooth and believable. Edmund's friend/foil is Fernand, played with aplomb by Guy Pearce. Pearce is so despicably roguish, that you almost admire his as you're loathing him. Richard Harris is wonderful as Faria, Edmund's grizzled sage advisor, confessor and trainer. The rest of the supporting cast also accord themselves well.
The film succeeds largely because it does not take itself seriously - even the most dramatic scenes are played with tongue planted in cheek and it is obvious that the cast were caught up in this spirit. In addition, the film is suitable for all ages - the violence is limited and largely bloodless, there is no coarse language and no nudity. I would not hesitate to recommend it to anyone.
Edmund Dantes is a simple man with simple desires, whose only goal in life is to save enough money so that he can wed his beautiful fiancee. Unfortunately, his belief in all that is good and trust in his friends are the very qualities that mark him as the perfect patsy. Convicted of nonexistent crimes, Edmund is sent to die in a hideous hellhole that masquerades as a prison. Bereft of hope, and having denounced god, there is only one thing that keeps Edmund alive -dreams of escape and revenge.
I slipped into this film hoping that it would provide me with two hours of enjoyment - it greatly exceeded my expectations. The Count of Monte Cristo is a film with something for everyone: romance, betrayal, intrigue, humor, sword fights It embodies the spirit seen in the Indiana Jones trilogy - present the viewer with pure entertainment, and don't insult them.
James Cavaziel's past performances have been less than stellar. More importantly, they have failed to demonstrate his dramatic range. As Edmund, he is given the opportunity to create a character who undergoes stark changes, both physically and mentally: Edmund metamorphoses from a shockingly naïve, young man, to bitter, bedraggled wretch with a tenuous grasp on reality, and finally into a scheming Machiavellian rake. The transformation is both smooth and believable. Edmund's friend/foil is Fernand, played with aplomb by Guy Pearce. Pearce is so despicably roguish, that you almost admire his as you're loathing him. Richard Harris is wonderful as Faria, Edmund's grizzled sage advisor, confessor and trainer. The rest of the supporting cast also accord themselves well.
The film succeeds largely because it does not take itself seriously - even the most dramatic scenes are played with tongue planted in cheek and it is obvious that the cast were caught up in this spirit. In addition, the film is suitable for all ages - the violence is limited and largely bloodless, there is no coarse language and no nudity. I would not hesitate to recommend it to anyone.