The Count of Monte Cristo ReviewsThe Count of Monte Cristo
Jim Caviezel (HIGH CRIMES) and Guy Pearce (THE TIME MACHINE) give sizzling performances in THE COUNT OF MONTE CRISTO — the greatest tale of betrayal, adventure, and revenge the world has ever known. When the dashing and guileless Edmond Dantes (Caviezel) is betrayed by his best friend (Pearce) and wrongly imprisoned, he becomes consumed by thoughts of vengeance. After a miraculous escape, he transforms himself into the mysterious and wealthy Count of Monte Cristo, insinuates himself into the Fr
Rating:  List Price: $ 14.99 Price: $ 6.30 Love Is a Many Splendored Thing
Newsman Mark Elliott is an American war correspondent temporarily staying in Hong Kong during the Korean War. While there he meets and pursues a beautiful Eurasian Doctor. But when they begin to fall in love, their friends and families pressure them to stop the cross cultural relationship.This love story made in 1955 and set against the backdrop of war is a many-splendored thing: it features a drop-dead gorgeous Eurasian doctor seeking meaning in her life (Jennifer Jones), a dashing but married
Rating: List Price: $ 14.98 Price: $ 7.14 |
(out of 443 reviews)
(out of 60 reviews)
Review by D. Litton for The Count of Monte Cristo
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After attending the release of “The Count of Monte Cristo,” a friend made the remark that he believed the movie could benefit from additional fight sequences. Immediately my mind shot back to last year’s “The Musketeer,” also based (rather loosely, I might add) on another of Alexandre Dumas’ famous classics. In that film, character development, story, and tone were sacrificed for the sake of creating yet another movie in which a choreographer of Chinese descent was allowed to make an impression on action aficionados by dazzling them with techniques reminiscent of “Crouching Tiger, Hidden Dragon.” What a relief that this latest adaptation of a Dumas novel strays from the usual clichés and redundancy of bringing a classic work of literature to the screen, coming out as a sturdy, well-guided costume drama that combines action, intensity, passion, and most importantly, revenge. With a script that keeps much of the novel’s intricacies intact, a cast befitting of their roles, and a director who keeps things interesting at all times, this is one swashbuckling adventure that pleases in all fields. The story centers around Edmund Dantes (Jim Caviezel), a sailor from a middle class upbringing in the town of Marseilles. He has a friend, Fernand Mondego (Guy Pearce), whose father is a wealthy aristocrat; despite his rich lifestyle, Mondego still harbors a slight jealousy for Dantes, who has just been promoted to captain of his vessel, allowing him the opportunity to marry his longtime love, Mercedes (Dagmara Dominczyk). Overcome by envy, Mondego concocts a vicious plan with the equally jealous first mate of Dantes’ boat that lands a wrongfully accused Dantes in the Chateau d’If for more than a decade.During his years of imprisonment, Dantes’ resolve is strengthened by brutal beatings, and by his friendship with fellow prisoner Faria (Richard Harris), who teaches Dantes to read and write, the articulate moves of swordplay, and offers him the location of a long-lost treasure that would give him the means to exact his revenge on those who have wronged him. Faria’s death provides Dantes the method of escape he needs, and once out, he begins his quest. The second half of the movie takes the movie to new heights of interest, as Dantes makes his big entrance in Paris as the Count of Monte Cristo, bent on exacting his revenge on Mondego, now married to a repressed, sullen Mercedes, and on Villefort, the police chief who played a role in his wrongful incarceration. Anyone familiar with revenge plots is well aware that this is a dish best served cold, and many will delight in the cooly calculated revelations and confrontations that arise as Dantes’s master plan begins to unfold. Accompanying this feeling of satisfaction is the movie’s wondrous appearance and execution. The look and feel of the film drips with the quality of the swashbuckling adventures of yesteryear, with its themes of vengeance and nobility, it’s glorious costumes and set design, and a final showdown that provides a slam-bang finish complete with suspense and fist-clenching thrills. Reynolds, and screenwriter Jay Wolpert, have realized the novel for the screen in a manner that is pleasing to the eye and the mind, keeping in touch with everything that has immortalized Dumas’ work without reworking key moments to make room for modern artistic influences.If this weren’t enough to please popcorn audiences and literary buffs, the cast is completely remarkable. Jim Caviezel plays Dantes with the conviction of a man wrongfully accused; by the time he escapes prison, we are all for him and his brilliantly conceived plan. His chemistry with leading lady Dagmara Dominczyk is a welcome slice of old-fashioned romance, while his scenes with Guy Pearce provide a nice contrast of nobility and jealousy, which Pearce perfects in his performance as Mondego. Also worthy of noting are the appearances of Richard Harris and Lius Guzman, who provide humorous touches throughout. More than anything else, this latest big-screen version of “The Count of Monte Cristo” is a wonderful popcorn adventure replete with everything you could possibly ask for in a film of this sort. Overall, it remains faithful enough to its source, and keeps us enlightened and entertained throughout its well-acted, well-directed, well-executed duration. Count on revenge, and then some.
Review by Grady Harp for The Count of Monte Cristo
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In this time of fire and explosion oriented blockbuster movies it is indeed refreshing to find a remake of a classic novel of the quality of The Count of Monte Cristo currently available. I happened to nonchalantly choose this film at the DVD outlet as a source of viewing background for an evening of desk work. WRONG! This superbly made film of the Dumas’ novel is excellent and gripping on every level. The quality of the film, shot in Ireland and Malta, is visually stunning, the story remains true to the original, and the cast is outstanding. James Caviezel makes a star turn in the title role, aided by the always excellent Guy Pearce, the veteran Richard Harris, the here venomous James Frain, a fine and very different role for Luis Guzman, and the elegantly beautiful Dagmara Domincyzk. The movie is beautifully paced, the long prison scenes allow Caviezel and Harris to create tremendous rapport, and the age old theme of REVENGE has rarely been played out so well. This is a beautiful period piece, finely photographed and scored and edited and directed. For a taste of just how exciting the old tales can be visually, treat yourself to an evening with The Count!
Review by Jeffrey Leach for The Count of Monte Cristo
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If you have never discovered the wonderful world of Alexandre Dumas, I urge you to run, not walk to the local library or bookstore and obtain a copy of “Le Comte de Monte Christo.” I also recommend reading the unabridged version of this classic tale about a man who takes revenge on his enemies. One thing is certain: do not attempt to take the lazy way out by watching this adaptation of Dumas’s novel. Two hours will never be enough time to adequately express the majestic beauty of this novel written by a phenomenal storyteller. Having said that, I enjoyed immensely this version of the story starring Jim Caviezel, Guy Pearce, and Richard Harris. Period pieces are often fun to watch, and this one is no exception. With a few problematic exceptions, “The Count of Monte Christo” is an entertaining film.The tale, if you are not familiar with it, focuses on a French sailor named Edmond Dantes. On a trading trip back to Marseilles, Dantes had the misfortune to stop at the island of Elba, the home of the exiled emperor Napoleon Bonaparte. With his captain dead, Dantes arrives in port and is promptly promoted to become the new captain. This step up in status angers several people around Dantes, specifically Danglars, Villefort, and Mondego. The three conspire to have Edmond arrested on charges of treason and thrown into a political prison called the Chateau D’If. Dantes spends years suffering in solitary confinement, although he eventually meets an elderly prisoner named Faria who educates him while they plan their escape. Moreover, this prisoner tells Edmond about a fabulous treasure that could be his for the taking. Eventually, Dantes escapes and embarks on a series of adventures that finds him returning to seek revenge against his enemies under the name “Le Comte de Monte Christo.”This very short description of Dumas’s novel obviously leaves out much of the plot. It also highlights the inherent difficulties in translating “The Count of Monte Christo” into a two-hour film. There is just too much detail, characters, and sub-plots in the novel to work with. The revenge plots Dantes formulates against his enemies alone are of such length and complexity that it would take hours to encapsulate them on the silver screen. Throw in the sub-plot of the Italian bandit Luigi Vampa (who does appear in the film), which is of immense importance in the novel, and it is impossible to adequately convey the full majesty of this classic on celluloid. Fortunately, this film manages to entertain while retaining key elements of the written story.The first part of the movie hews closely to the novel with a few notable exceptions. The film begins with Edmond and his friend Mondego landing on Elba, where they have a shoot out with British security forces before personally meeting the deposed emperor. Back in Marseilles, we meet Mercedes, Dantes girlfriend and a character who plays a big role in the written story. The filmmakers do insert a warden for Chateau D’If, played by actor Michael Wincott, who does not appear in the book. If you are familiar with Wincott, you will remember his voice and his presence. He makes a great addition here and has the best lines in the film. By the time Dantes returns to society as the Count, the film diverges wildly from the story. The revenge Edmond seeks here is too pat and too easily resolved. In the book, his vengeance is intricately planned and executed slowly over many, many pages. By shortening this sequence, the filmmakers sacrifice the suspense of the novel to time constraints and a waning attention span common in today’s moviegoers. To be fair, the movie never tries to be a literal interpretation of the book (or so says screenwriter Jay Wolpert in an interview on the disc). In some ways, deviating from the book does make the story more compelling. The sword fights are great fun to watch, especially the final showdown between Dantes and Mondego. The scene where Dantes provides a way out for Villefort and then pulls back at the last second is a nice touch as well. Overall, although I think more elements of the book should have been kept in the story, the movie succeeds.Many extras on the disc make this well worth picking up. There is a short documentary about Alexandre Dumas, a location documentary, four deleted scenes with commentary, a film commentary from director Kevin Reynolds, a detailed explanation on how the sword fights were shot and choreographed, and an interview with writer Jay Wolpert. The picture quality and sound is top notch. I recall that this film disappeared from the theaters quickly, perhaps due to an aversion for period pieces or competition from one of those effects laden clunkers they foist on us every few months. I found “The Count of Monte Christo” entertaining and technically well done, and would certainly view it again.
Review by Eric for The Count of Monte Cristo
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This most recent adaptation of Alexandre Dumas’ classic novel isn’t going to please all the fans, particularly those who demand rigorous adherence to the source material (I never did understand such people’s way of thinking; a movie is never bad just because it strays from the source) but it most certainly will please moviegoers in the mood for a period piece adventure, and as such a film, The Count of Monte Cristo never fails to entertain for every bit of its running time. Jim Caviezel stars as Edmond Dantes, a rather poor and uneducated man who has a life that his rich friend, Fernand Mondego (Guy Pearce) envies. Dantes has just been promoted to captain of his ship after he and his crew returned from a brief, unanticipated stop in Elba, where Napoleon had given Dantes a letter to give to a “friend.” Mondego is particularly jealous that Dantes’ fiancee is Mercedes (Dagmara Dominczyk), their childhood friend who has grown into an utterly beautiful woman. Mondego sets out to destroy Dantes life by telling French officials of the letter, which leads to Dantes’ arrest. He is banished in a prison located on an island rather far from the mainland. As the years pass, another prisoner, Faria (Richard Harris), actually tunnels his way into Dantes cell. With his help, Faria believes they can dig to the outer wall, and in return, he will teach Dantes how to read, write, and fight with a sword. As soon as he makes his escape, Dantes plans his vengeance against those who betrayed him.There’s actually a LOT more plot than what I’ve stated, which probably already sounds hefty, but there are a lot of things I’d rather not give away. While not without some flaws, The Count of Monte Cristo is rousing entertainment and is probably the best period piece adventure in recent years (personally, I found it more enjoyable than The Patriot, Rob Roy, and The Last of the Mohicans). The film’s first seventy minutes represent marvelous entertainment, consistently gaining momentum with every scene that goes by as we grow more and more compelled by the story. The film stumbles only slightly in the third act, when Dantes eventually encounters all those who destroyed his life so many years ago, and sets in motion a plan for his own vengeance. It’s in this lengthy segment that a few moments drag (but only a few) and some scenes feel a little hard to swallow (that Pearce’s Mondego wouldn’t recognize Dantes). The climax feels a little silly, in that seemingly all the lead characters pop out from nowhere to either fight or reveal long-held secrets. But thankfully, such flaws are only mild and hardly detrimental. This is a well-acted, well-written, and surprisingly well-directed tale of revenge. As Dantes, Caviezel excels, making a believable transformation from a kind-hearted, innocent man to one whose heart has been hardened through so many years. Guy Pearce chews the scenery quite well as Mondego; he seems to be having a great time playing the greedy antagonist. It’s nice to see that Pearce, who usually plays likable characters (as in L.A. Confidential and The Time Machine), is up to the task of giving us a villain to hiss at. The other performances aren’t quite as vital, though Richard Harris is good as Faria, and Luis Guzman is often hilarious as Dantes’ right-hand man (the scene where Guzman tells Dantes how to handle the massive amounts of gold they just found is the biggest laugh I’ve had all year). Dagmara Dominczyk is pretty decent, though her acting is mostly overshadowed by her beauty, a back-handed compliment, I suppose.The Count of Monte Cristo actually doesn’t feature that much in the way of adrenaline-pumping action. Despite all the claims this is a swashbuckler, there are only three swordfights (and one knifefight), and each of these scenes last no longer than maybe two minutes. But the appeal of this film isn’t in the action, it’s watching a plot that unfolds with little twists and turns that, though often expected, engaged me because I cared about the situation and the fate of the characters.There was obviously a lot of work put into the way this film looks. The cinematography is gorgeous and the sets are magnificent, with splendor I have rarely seen rendered so well in period pieces. The film was directed by Kevin Reynolds, who may yet have a career again after his critical disaster, Waterworld (which actually wasn’t half-bad). Highly recommended, The Count of Monte Cristo is great fun all the way.
**** 1/2 out of *****
Review by Joboo for The Count of Monte Cristo
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Not since Mask Of Zorro have we had an old fashioned revenge movie that played on classic cinema rather than tendency of movies today to be loud and bloody. I was fortunate to see this movie with a sneak preview audience. James Caviezel is fantastic in the role of the Count. He is very believeable as a simple, humble man in the beginning and then the torn, angry, revenge seeking Count later on. The movie has many similar elements to the aforementioned Mask Of Zorro, but has enough of its own identity for you to note the similarities, but not be distracted by them. The beautiful actress Dagmara Domincyzk plays the love interest. There are many closeups of her face and she is stunningly beautiful and convincing. Guy Pearce is a more than able bad guy, successfully creating a character that you come to despise thoroughly by the end. The audience that I viewed this with absolutely loved it. There are sprinkles of light comedic lines throughout the film and the audience was delighted with them all. The scenes where the Count is exacting his revenge registered the loudest response from the audience, as many were very vocal in their approval of the revenge being dished out.It had been a while since I viewed a movie where the audience broke into a loud ovation at the end. This one received such an ovation and I concur.
Review by Byron Kolln for Love Is a Many Splendored Thing
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LOVE IS A MANY-SPLENDORED THING remains to this day one of Hollywood’s most beloved and heartbreaking love stories. Set in the turbulent days of Hong Kong during the Korean War, the story concerns war correspondant Mark Elliott (William Holden) who falls in love with widowed Eurasian doctor Han Suyin (Jennifer Jones) who, while coming from completely different walks of life, fall in love. Based on the real-life Han Suyin’s bestselling novel of the same name, the film candidly deals with themes of prejudice and the dangerous political climate of the time. Beautifully-filmed on location in Hong Kong.
The casting is impeccable: Jennifer Jones is luminous as Suyin (even more glorious in Technicolor) and William Holden adds a great edge to his performance. Isobel Elsom plays Mrs Palmer-Jones, the racist wife of the head of the hospital (her scenes with Jones still ring true).
For a romance with a similar theme I recommend THE WORLD OF SUZIE WONG with William Holden and Nancy Kwan.
Review by A* for Love Is a Many Splendored Thing
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when I first brought this film and started watching it I thought it was good not great. But the ending, the tragic ending and the swelling of the soundtrack made me cry and hit the replay button on my dvd player. The movie began to take shape for me once I realized the steps these two have taken to fall in love. The dialogue flows like modern Shakepeare and is wonderful to hear. Jones is at her best and it shows her subtle voice; it is neither weak nor nagging but this film belongs to love and to have it you need another person and at a key scene at a party we are introduced to Holden! Wow, this man was a master of presence and had such a natural flow to his acting. The intimate scenes of them on the way back from visiting one of Jones’ friends are simply haunting. Under the moonlight and in a canoe Holden tells Jones “I will never do anything to hurt you” the tone and the expressions on both their faces are amazing. I love this flick and the setting is breathtaking. Just have a bucket and a towel to ring your tears into after the movie is over.
Review by for Love Is a Many Splendored Thing
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Jennifer Jones and William Holden are perfectly cast as star-crossed lovers, in this film. The story is poignant and beautifully done. Jennifer Jones portrays her character, Dr. Han Suyin with depth and feeling. She is believable! William Holden, as Mark Elliot, war-correspondent, is charming and determined to win her love. And yet, he respects her wishes and her ancient heritage and culture. The scenery throughout the film is breath-taking.The title song, played throughout the picture only enhances the scenic beauty. My favorite parts are, of course their first meeting at the Palmer-Jones cocktail party, their outing that begins on the beach and their brief but romantic meetings on the hill over-looking Hong Kong. The ending, though most tragic, is beautifully done! A must see movie!!!!!
Review by Donald M. Cook for Love Is a Many Splendored Thing
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At age 71 – I have looked back over my lifetime and have memories of movies that really touched me. This was one of those – - so I have purchased this memory and have enjoyed it once again. I am glad I bought it – because I can now watch it over and over – which I will do. At this age I now realize that there are things that give meaning to your life, and how you live it, and so I am now going back and trying to recapture those small tokens to keep and cherish. This is not much of a review as a return to my youth. Sorry.
Review by clare hynes-pope for Love Is a Many Splendored Thing
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When I first saw LOVE IS A MANY SPLENDORED THING I was about 16, and, yes, I saw it from a completely romantic perspective. The next time I saw the movie, I was able to see it from a socio-economic perspective. Henry King did a superb job in combining all the aspects of romance, racial unrest, political and social power, and socio-economic conditions out in the British Crown Colony of Hong Kong during the late 1940′s. Suyin fell in love with Mark Elliot, but she had difficulty in coming to terms of becoming European, and at the same time, the Palmer-Jonses had tremendous power in the colony. Adeline Palmer-Jones as the wife of the director of the hospital was always there to let Dr. Hom know in subtle ways that she did not fit in. The scene where the director orders Dr. Hom to attend to his wife before she dares to go onto the wards well illustrated the socio-economic problems in Hong Kong. The British society people ruled Hong Kong, and the poor or ailing Chinese were treated as second class citizens, including Dr. Hom. Another powerful scene was when the Chinese doctor gave Dr. Hom the news that her residency would not be renewed. Dr. Hom replied that she could go into private practice, and her friend informed her that to be realistic, it would not be possible because the British people would only seek medical assistance from their own kind. It was interesting her girlhood friend did what she had to do in order to fit into Hong Kong society, and as another Eurasian, she passed herself off as English.I recently watched this movie again for about the fourth time, and it has been about some 45 years since I saw it for the first time. I am no longer a young person, but I could still appreciate the handsome and romantic William Holden as Mark Elliot. He was divine.Yes, it was a wonderful love story, and a brief lesson in history, which could serve as a springboard to do further research into the life out in Hong Kong during the 20th century.