Bardlerx Strictly average movie

LouHomey From my favorite movies..

BroadcastChic Excellent, a Must See

Curapedi I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

MARIO GAUCI Frankly, I find it very hard to believe that a major Euro-Cult exponent, the legendarily irascible 85-year old Italian film-maker Riccardo Freda, came out of 13 years of retirement to make this belated French swashbuckler with such art-house favourites as Sophie Marceau, Philippe Noiret, Claude Rich, Sami Frey and Luigi Proietti, got himself fired from the project (as so often happened in the past, often to the benefit of his cinematographer Mario Bava) and distinguished director Tavernier stepped in to complete the picture; the more likely scenario is that it was avowed Freda champion Tavernier's idea to dust off (and update) an old script from the elderly director's glory days of the "Peplum" subgenre - already filmed by him as the obscure and elusive THE SON OF D'ARTAGNAN (1950), co-starring the ubiquitous Gianna Maria Canale, his then-current muse/companion - now that swordplay was once again en vogue on screen in France – presumably following the worldwide success of the Oscar-nominated 1990 Gerard Depardieu version of CYRANO DE BERGERAC! Having said that, Richard Lester had himself resurrected his long- dormant Alexandre Dumas diptych from the mid-1970s for one final (and, ultimately, fatal) fling with 1989's middling THE RETURN OF THE MUSKETEERS – in which Noiret (here as D'Artagnan) had played Cardinal Mazarin i.e. Proietti's role in the movie under review! Whatever the real story is, the eventual outcome was a solid effort all round which, while perhaps not scaling the expected heights given its pedigree of cast and crew, should provide lively entertainment for viewers of all persuasions. In retrospect, Marceau may have been right in complaining that, notwithstanding the film's title, her part should have been bigger: she still gets to shed her clothes and wield the sword on various occasions and her characterization here must have decided Mel Gibson to cast her in his own epic BRAVEHEART (1995) and she did get her own later period vehicle in MARQUISE (1997; which I am not familiar with) in which she romances Louis XIV (who is still a royal teenage brat in this one!). Instead, Tavernier's movie chooses to focus on the tattered relationship between the reassembled Four Musketeers: even the supposedly dead Athos turns up as the one-eyed henchman of Mazarin! Marceau gets her own romantic foil in a rebellious poet (played by Tavernier's own actor son, Nils), as does bumbling villain Crassac (a delightful, Cesar-nominated turn from Rich) in his unscrupulous accomplice Eglantine De Rochefort (Charlotte Klady). For the longest time, we follow the two factions on the separate trails of 'Double McGuffins': the musketeers' clue turns out to be nothing but a laundry list, in spite of Bishop Aramis (Frey) extracting Biblical references from the message, obtained from a fugitive black slave in the very opening sequence, the initials of which when combined together spell "Crassac"!; Mazarin's clue, then, was nothing but Tavernier's on-the- spot poem to Marceau during their first meeting in a tavern! Even so, fencing instructor D'Artagnan and his aging buddies still manage to stumble on the real plot on the young king's life during his coronation.Recently, it seems like I always get to make a reference to my unwatched pile in my reviews: this one is, obviously, no exception since I own several tenuously "Musketeers"-related films I have yet to catch up with: A MODERN MUSKETEER (1917; with Douglas Fairbanks), BARDELYS THE MAGNIFICENT (1926; with John Gilbert); CARDINAL RICHELIEU (1935; with George Arliss), THE THREE MUSKETEERS (1935; with Walter Abel), UNDER THE RED ROBE (1937; with Conrad Veidt), an unsubtitled Spanish-language copy of THE THREE MUSKETEERS (1942; with Cantinflas), Roberto Rossellini's THE TAKING OF POWER BY LOUIS XIV (1966), the uncut International version of THE FIFTH MUSKETEER (1979; with Cornel Wilde as D'Artagnan) and THE MUSKETEER (2001; with Catherine Deneuve). To end this review as I had started it by referring to Riccardo Freda again: it should be noted that I have just acquired off of "You Tube" a copy of his professional rival Vittorio Cottafavi's MILADY AND THE MUSKETEERS (1952), sourced from a late-night Italian TV broadcast

jimtrageser Only based on Alexander Dumas' musketeer tales, not taken from them, this movie still manages to capture the sense of fun and adventure that marked his novels.The four older actors playing the retired musketeers who are drawn back into the fray by D'Artagnan's daughter, Eloise, will be unfamiliar to most American viewers, but all of them have that same kind of slightly naughty French humor that so many Americans love in Gérard Depardieu (whose Porthos from the "Man in the Iron Mask" would have fit in perfectly here).And Sophie Marceau will charm the pants off of you - although her pants are about the only clothing item she manages to hang onto here. But she is saucy, funny and very strong.The scenery, too, will enchant - the castles, the countryside, all are gorgeous and true to the time.

jhclues The spirit of Dumas is alive and well as D'Artagnan and his three legendary companions regroup and once again go forth in defense of the Crown in `Revenge of the Musketeers,' directed by Bertrand Tavernier. This time around, however, it's D'Artagnan's daughter, Eloise (Sophie Marceau), who sounds the alarm after witnessing a cold-blooded murder at the convent she has called home these many years, having been raised there while her father was off on one adventure after another in service to the King. And it's the King for whom Eloise is concerned; in the wake of the murder, she has uncovered a conspiracy to assassinate the about-to-be-crowned Louis XIV during his coronation. Her evidence is a cryptic message discovered among the personal effects of the recently deceased resident of the convent. So throwing caution to the wind, Eloise takes to horseback, alone, to seek out her father and inform him of this threat to France and the King. What she doesn't know is that D'Artagnan (Philippe Noiret) has recently withdrawn from the service of the King, and not by his own choosing. It seems that the King-to-be is something of an upstart, the fact of which D'Artagnan conveyed to him personally-- in no uncertain terms-- after which the now former Musketeer retired to private life to give lessons in the art of swordsmanship. All of which is about to change with the arrival of the daughter he hasn't seen for many years, and who to his knowledge is still safely ensconced in the convent. To successfully present yet another episode of `The Three Musketeers,' it must have that certain sense of bold carelessness born of confidence and larger-than-life adventure, and Tavernier's film has it. Though it takes a couple of scenes to find it's legs after an intense opening that makes you sit up and take notice, when it finally kicks in (which it does fairly quickly) it becomes a rousing adventure steeped in the tradition of it's predecessors. And, as in the best of the `Musketeer' movies, it's laced with subtle humor and intrigue. Tavernier sets a pace that is at times inconsistent, but he provides enough action and fun that it can be easily overlooked; it may threaten to stall occasionally, but never actually does. Philippe Noiret cuts a striking figure as the aging D'Artagnan, who though slowed somewhat by the years, is still one of the best swords around. He successfully embodies that spirit and sense of `legend' that makes his D'Artagnan believable, and delivers it all with the confidence befitting his character. The highlight of the film, however, is the lovely Marceau, who as Eloise proves that she can cross swords with the best of them. Her technique with a blade may be a bit awkward at times, but it gives credibility to the character; a young woman raised in a convent-- even the daughter of a famed Musketeer-- wouldn't necessarily be a master swordsman. And Marceau gives a lively performance as Eloise, diving into the action with a reckless abandon that makes her endearing, as well as fun to watch. She has a radiant screen presence that draws the eye to her, even in a crowded scene. But what really puts this character across-- and again, the entire film, for that matter-- is that unabashed spirit of adventure, which Marceau manifests in Eloise. The supporting cast includes Claude Rich (Crassac), Sami Frey (Aramis), Jean-Luc Bideau (Athos), Raoul Billerey (Porthos), Charlotte Kady (Eglantine de Rochefort), Nils Tavernier (Quentin), Luigi Proietti (Mazarin) and Jean-Paul Roussillon (Planchet). Proving that even Musketeers beyond their prime can be engaging, especially when combined with a spirited beauty like Marceau, `Revenge of the Musketeers' is a welcome cinematic chapter in the saga Dumas began so many years ago. In the end, it's a satisfying experience that will transport you to another place and another time, when chivalry was alive and well, and right always triumphed over wrong. I rate this one 7/10.

ali-17 Just to get a little balance here:The film is a lot of fun, certainly, and worth watching, but it has its problems. The winks towards modern issues and modern cultural references are hilarious to start with, but by the end of the film you do get a bit tired of them, and wonder whether a *little* bit more interest in making characters' attitudes credible in the 17th century wouldn't, finally, have improved the film. Another point - would it not have been possible to let Sophie Marceau definitively win just *one* of her battles? As it is she always seems to put up a good fight, but, in the last resort, her father or her boyfriend have to rescue her. I feel that the film-maker in his heart of hearts agrees with D'Artagnan when he suggests she should go back to making jam. Oh well, Sami Frey is still sexy.