Pathé Films’ The Count of Monte Cristo is a dazzling new adaptation of the beloved Alexandre Dumas novel. The epic production captivates with its gorgeous visuals and powerful performances. The imaginative screenplay highlights the eternal themes of Dumas’ work, and the heavy focus on cold vengeance gives the well-known story a fittingly dark feel.
Readers who recall the book as primarily an adventure novel will discover in The Count of Monte Cristo (2024) the other remarkable elements that characterize Dumas’ style: intricate story-telling, rich character development and dialogue, and the Romantic emphasis on emotion. The three hours pass almost too quickly as the onscreen tension rarely eases. Thrilling action alternates with hushed scheming and upsetting revelations. And little “r” romance fans have ample reason to swoon.
The movie is undeniably beautiful. The natural scenery, set design, and costumes vividly bring to life Dumas’ descriptions. Panoramic seascapes, wild landscapes, and lush coastal views capture the dreamy splendor of the Mediterranean. Painstaking recreations of the dungeons of the infamous Chateau d’If convey the disorienting isolation of Edmond Dantès’ unjust imprisonment. Landmark French castles serve as opulent backdrops, showing the wealth of those who prospered at Edmond’s expense as well as Edmond’s new status as the Count. Similarly, the sumptuous interior set designs and period costumes reflect their luxurious Parisian lifestyles without being gaudy. The Thierry Delettre design that Haydée wears in her final scenes is simply exquisite.
The gorgeous cinematography adds to the visual quality of The Count of Monte Cristo (2024). The breathtaking above — and under-water — camera work in the chaotic opening scene sets the standard. Director of Photography Nicolas Bolduc skillfully uses camera angles, plays of light and dark, color, and imagery to add richness to the story. Various overhead shots convey hopelessness, such as when Edmond lies on the floor in the circle of light allowed through the prison cell’s only opening. In contrast, the light play as he reminisces about Mercedes is almost hallucinatory. The shift from Fernand’s red coat as he restrains Mercedes to de Villefort’s red flowers for his mistress are an early clue that both men are treacherous. The painting-like quality as Haydée and Albert stroll in the Jardin des Plantes reminds us that their courtship exists solely by the Count’s design.
Other production elements allow viewers to feel fully immersed in the universe of the film. The soundtrack generally creates the ideal atmosphere. Rhythmic scoring and well-timed crescendos add drama, although the music occasionally intrudes on the visual experience. Make-up and actor Pierre Niney’s regimen allow for radical physical transformations. Edmond’s emaciated body when we discover him in prison is shocking, as is the sight of a dying character during their reunion. My theater companion and I were fooled into asking, “Who’s that actor?” in one scene. Edmond’s ability to fool former close companions with the Count mask does, however, strain belief.
The Count persona can feel melodramatic at times in The Count of Monte Cristo (2024). When Edmond, cloaked in black, warns God that he is now the one who rewards and punishes, the scene feels more caricatured than threatening. In the same vein, the swishing of his dark coattails recalls the caped crusader. This superhero feel may be intentional in the staging and choreography of the fight scene in the dark night. Swashbuckling enthusiasts may wish this energy carried through to the final sword fight.
Still, this larger-than-life Count works in the Dumas universe. Matthieu Delaporte and Alexandre de la Patellière have produced a narrative that is faithful to the novel while modernizing or simplifying certain storylines. Some adaptations rush through Edmond’s incarceration, but the long prison sequence in The Count of Monte Cristo (2024) allows audiences the opportunity to savor the brilliant performance of Pierfrancesco Favino as Abbé Feria. It also places us squarely in Edmond’s camp as he launches his quest for “justice.” Hope, reinvention, and resurrection quickly give way to darker themes as Edmond transforms into the Count. Deception, unquestioning loyalty, and merciless revenge take center stage.
Most of the liberties taken in the screenplay enhance the ability to tell the epic story in under three hours. The reimagining of Haydée’s role gives an agonizingly beautiful story in which Anamaria Vartolomei is powerful perfection. Although the denouement feels slightly rushed, the film poignantly follows Edmond’s full arc, closing with a scene of hopeful redemption.
Pathé’s The Count of Monte Cristo is an engrossing retelling of Alexandre Dumas’ novel. If you’ve never read the novel, this film is an excellent opportunity to discover this legendary story. And if you’ve read the novel many times, this adaptation offers new perspectives on character motivations and themes like honor, greed, revenge, and forgiveness, which are both timeless and timely.
The Count of Monte Cristo is now playing in select theaters.
First Featured Image | Poster Credit: ©Pathé
Just the best film I’ve ever seen in my 62 years.