THE COUNT OF MONTE CRISTO (2002) ***
Saying THE COUNT OF MONTE CRISTO is director Kevin Reynolds’ best movie may not necessarily be saying much given his heretofore fame for the Kevin Costner vehicles, WATERWORLD and ROBIN HOOD: PRINCE OF THIEVES, but COUNT (which thankfully lacks Costner) is a deeply satisfying genre piece.
Based on Alexandre Dumas’ oft filmed novel of the same name, THE COUNT OF MONTE CRISTO follows Edmond Dantes (Jim Caviezel) on an old-fashioned, swashbuckling tale of revenge. In late 18th century Marseilles, Edmond is appointed captain of his own ship and about to marry his beautiful sweetheart Mercédès (Dagmara Dominczyk) when his jealous old friend, Fernand de Mondego (Guy Pearce) betrays him to the authorities. Edmond’s crime of naiveté was to agree to deliver a letter from the exiled Napoleon Bonaparte to a sympathizer. The corrupt official Villefort (James Frain) sends Edmond to the prison known as Château d'If. After thirteen years of sadistic beatings there, Edmond escapes with the aid of old Abbé Faria (Richard Harris). The prototypical guardian figure, Faria is all wise and teaches Edmond not only how to read and write but also about philosophy, fencing, and of course, economic theory. Acquiring a man Friday by the name of Jacopo (Luis Guzman) and conveniently uncovering some buried treasure, Edmond becomes an early 19th century Bill Gates and christens himself the Count of Monte Cristo.
Given the familiarity of the material, the plot is utterly predictable, even on a scene by scene basis, but it doesn’t detract from the viewing experience since Reynolds executes the story so well. The moments of tension provide the requisite rush of excitement, and every plot thread is neatly tidied up with undue strain on credibility. Given the lack of stars who require $20 million paydays in the movie, COUNT looks like its budget went toward its production design. It’s a sumptuous film shot on location in Malta and Ireland. The movie is less inspired than proficient and it has its moments of cornball silliness, but any elegance lacking in Reynolds’ direction is made up for in the beautiful look of the picture.
Caviezel’s Edmond is too introverted to bring out the passion of his ire, but he proves adequate for the part. Pearce looks more haggard with each passing year after his role as the handsome Detective Exley in L.A. CONFIDENTIAL. That look is a plus here though as he plays a Machiavellian villain with just enough audacious pride to give the character that extra dash of wickedness. The Polish-born Dominczyk is suitably gorgeous and ample motivation for Edmond’s love and vengeance. Guzman plays the faithful comic sidekick who relinquishes all of his personal needs in service of the hero. The iconic Guzman’s anachronistic presence would be annoying in a movie that took itself more seriously, but here, he is amusingly out of place. Plus, he wears a howler of a wig that looks like it’s about to come to life and scamper off his head.