Directed by: Matthieu Delaporte and Alexandre de La Patellière
Written by: Matthieu Delaporte and Alexandre de La Patellière
Run Time: 2 hours 58 minutes

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Both parts to Martin Bourboulon’s thrilling film adaptation of Alexander Dumas’ The Three Musketeers were truly among the highlights of French cinema last year (2023). Matthieu Delaporte and Alexandre de La Patellière, the screenwriting duo responsible for rejuvenating the classic story, have since turned their attention to adapting another of the writer’s renowned novels, now bringing audiences The Count of Monte Cristo.

Set in 1815 after the fall of Napoleon, the film follows a young sailor, Edmond (Pierre Niney). He’s set to marry the love of his life, Mercédès (Anaïs Demoustier) but is suddenly accused and convicted of treason. Initially a man full of hope and optimism for his once bright future, Edmond is now consumed with rage and becomes determined to enact his revenge on the three men that conspired against him.

In principle, the story is a simple revenge thriller. Although, with Edmond assuming the mysterious identity of the affluent Count of Monte Cristo in order to achieve his vengeance, the details of the plot become increasingly and ambitiously intricate.

No doubt encouraged by the much-deserved success of the aforementioned Musketeers movies, The Count of Monte Cristo is France’s most expensive film of the year – and it looks it. The production value is superb, with impressive locations, lavish set design and carefully crafted costumes setting the scene spectacularly. As the adventure moves from the treacherous high seas to the grand houses of the French upper classes, the film repeatedly boasts a level of authenticity that keeps audiences completely immersed in its captivating storytelling.

Considering the film’s runtime comes in just shy of three hours, this is no mean feat. However, with a story of revenge as epic as is on display here it calls for this length, and thankfully The Count of Monte Cristo uses its time wisely. Littered with an exciting collection of action sequences – consistently enhanced by Jérôme Rebotier’s dramatic score – the film paces its adventure steadily, maintaining audience attention with ease. So much so that some sequences could even have been indulged in for slightly longer.

Admittedly, the passing of time is somewhat sporadic, yet with a story that spans so many years the elongated runtime facilitates the development of character motives and helps the audience feel the sheer weight of injustice experienced by Edmond.

As the story unfolds it masterfully teases audiences with the downfall of his foes. The entire cast of players share the screen with Pierre Niney wonderfully, creating a fine ensemble as their characters each play their parts (often unwittingly) in Edmond’s masterplan. But the attention to detail of his plot also demands the patience of viewers. In a few brief moments his carefully considered revenge risks becoming too elaborate for its own good, but it’s also here that the film demonstrates its playfulness and sense of humour most, ultimately saving it from any potential convolution.

So while the film is rightfully lighthearted in places, it also proudly embraces the darkness of its story and especially of its protagonist. Niney does a tremendous job at conveying Edmond’s all-consuming anger, while the screenplay encourages audiences to debate if he even has the capacity to show the mercy that others now beg of him. And it’s this compelling conflict that ensures The Count of Monte Cristo remains thrilling until its very final moments.

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Star Rating: ★ ★ ★ ★

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