Directed by:
Martin BourboulonCinematography:
Nicolas BolducComposer:
Guillaume RousselCast:
François Civil, Vincent Cassel, Romain Duris, Pio Marmaï, Eva Green, Louis Garrel, Vicky Krieps, Lyna Khoudri, Jacob Fortune-Lloyd, Marc Barbé, Alexis Michalik (more)VOD (3)
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D'Artagnan, a spirited young man, is left for dead after trying to save a young woman from being kidnapped. When he arrives in Paris, he tries by all means to find his attackers. He is unaware that his quest will lead him to the heart of a real war where the future of France is at stake. Allied with Athos, Porthos and Aramis, three musketeers of the King with an audacious contempt for danger, D'Artagnan faces the dark machinations of the Cardinal of Richelieu. But it is when he falls madly in love with Constance Bonacieux, the Queen's confidante, that D'Artagnan truly puts himself in danger. For it is this passion that leads him into the wake of the one who becomes his mortal enemy: Milady de Winter. (Entertainment in Video)
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Reviews (11)
A swashbuckling, raucous and modern adaptation of Dumas' classic. More emphasis is placed on the action scenes, which are gritty, dynamic, and with great choreography. There have been so many versions of “The Three Musketeers” that I'm not even sure how it was supposed to be done, but the snipers in the church is a very good sequence. Eva Green is incredible as Milady, and overall it's a very strong cast. The ending is outrageously open and I'm looking forward to the second one.
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The concept of an old-school adventure film, the kind that is no longer in vogue today. This is Dumas to the core. Admittedly, in terms of style, it's dirtier and grittier than usual, with a few (not bad at all) subplots of its own, but otherwise it's exactly what you'd want from a modern adaptation of a classic. The production design, the locations, the costumes, the choreography of the single take action, the pacing, the characters, everything is so classic Three Musketeers that is almost surprising. I expected (or rather feared) a greater mincing of the source material in a (post)modern package. As soon as I left the cinema I immediately looked to see when the second part would come, and sadly, it isn’t until the end of the year.
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In the future, on a repeat, I'll always prefer Lester's Musketeers anyway, because it has enough juicy popcorn to feed all of Nigeria, it doesn't skimp on the humour (which is almost absent in this French version) and the vivacious Michael York is like the finest wine as D'Artagnan. On the other hand, I like this French unpolished concept. Especially the magnificent production design! Muddy, unpaved, sandy streets, men sweaty and dirty (and with yellow teeth ), when, as we know, hygiene was a priority in the 17th century, even among the high classes, and the camera with muted colours adds a lot to that realistic impression. And what can we say, cherchez la femme Eva Green is after all a sexier milady than Faye Dunaway. So actually, when I sum up the comparison, I come out with a tie, and that's not a bad mark at all.
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This successful adaptation of Dumas's classic slightly updates the famous story and relies on great action scenes, beautiful sets and a charismatic cast. It completely omits humour and plays on a serious note, and it mostly works very well. Unfortunately, Martin Bourboulon doesn't quite manage to sell the more intimate scenes and dialogue, and towards the end it feels like he's bitten off too big a bite; the finale, however impressive, is a bit too much. But despite these problems, this is a highly above-average adventure flick straddling the line between old-school and modern filmmaking.
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Gone are the saturated colors and boisterous choreography of Lester’s classic version. Bourboulon has his protagonists rooting around in the dirt and mud, D'Artagnan literally in the first scene. The humor is also gone, but that doesn’t mean that the trio, which is actually a quartet, lacks distinctive wit and charm. The cast is good, the sets are properly shabby, the costumes are dirty and the plot is rife with intrigues. The deviations from Dumas are defensible and it’s apparent that this new adaptation wants to bring more behind-the-scenes scheming into play and somewhat sideline the love motifs, which is fine. It’s a shame that some of the plot shortcuts have slightly confused logic, but after a few doubts about whether all that Protestant fun below Paris is only a needless digression, the feeling that everything can be made into an excellent spectacle in the sequel ultimately wins out. In the end, I'm bothered only by minor issues with the film, mainly the fact that Richelieu is an expressionless character. But everything else works. The one-shot action replaced the playful choreography with physicality and the musketeers soon settle into it. A very respectable contribution to the Dumas canon!
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