"There are 5,119 stones in my walls," Dantes tells Faria. "I have counted them." Faria can think of better ways to pass the time. Enlisting Dantes in a renewed tunneling effort, he also tutors him in the physical and mental arts; he's the Mr. Miyagi of swashbuckling. Together, the men study the philosophies of Adam Smith and Machiavelli, and the old man tutors the younger one in what looks uncannily like martial arts, including the ability to move with blinding speed.
The story of course is based on the novel by Alexandre Dumas, unread by me, although I was a close student of the Classics Illustrated version. Director Kevin Reynolds redeems himself after "Waterworld" by moving the action along at a crisp pace; we can imagine Errol Flynn in this material, although Caviezel and Pearce bring more conviction to it, and Luis Guzman is droll as the count's loyal sidekick, doing what sounds vaguely like 18th century standup ("I swear on my dead relatives--and even the ones that are not feeling so good").
The encounter with Napoleon on Elba is a sequence created specifically for the film. Since the book begins with the Pharaon's return to Marseilles and Edmond recounting what happened, the filmmakers felt that actually showing the events was more cinematically interesting than Edmond just talking about them.
Things turn bad for Edmond when, acting out of kindness and honor, he naively betrays his country, unwittingly giving Napoleon an advantage in the war. When this unintentional treachery is discovered, Edmond is unfairly imprisoned in an island dungeon. There, he meets a fellow prisoner, a priest (Richard Harris), who challenges him not to give up on God. The priest educates Edmond in reading, writing, and swordsmanship, preparing him for the slim chance of escape.
Mondego:
Much good it did him. His wife and I were happy in our passion. You were happy in your ignorance. Now comes the viscount's valiant defense of his honor, and you are pained, she is ruined, and he is dead.
Alexandra Dumas' classic story is given the umpteenth remake with this modern reworking, which bears the unmistakable brush of Hollywood but still manages to remain entertaining thanks to some sterling performances. The outstanding actors at work include the relatively unknown Jim Caviezel, who really shines at the put-open Edmond Dantes, and the gorgeous and talented Dagmara Dominczyk, who puts in a nicely subtle performance as his grieving wife.
Guy Pearce is cast against type as the flamboyant and emotional villain of the movie, and does an excellent job with the part. Add to this some good supporting roles for the likes of Richard Harris, Luis Guzman, and James Frain, and you have what is a well-acted and thankfully mature interpretation of the storyline.
On first watch of this film, you immediately notice the authentic sets and the strong cinematography which brings out the landscapes of Ireland and Malta. Amid the drama and conspiracy there are a few nice action sequences, the most notable of which is the dramatic sword-fight between Pearce and Caviezel which doesn't disappoint. Moments of humour and romance counteract with the pathos and despair and the result is a well-rounded, if not sparkling, adaptation.
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