The Count of Monte Cristo
Andon Kiryazov December 14th, 2011 Final paper The books of Alexander Dumas are favorites of lots of generations of readers because of his fascinating characters, twisted stories and vibrant plots. Among them, “The Count of Monte Cristo” was finished in 1844. Provided its fantastic storyline about love and revenge in the 18th century, the book was brought to life for the very first time in 1934 by director Rowland V Lee and experienced stars Robert Donat, Elissa Landi and Sidney Blackmer. Nevertheless, would it deserve it to do 2nd film based upon the very same novel? Joe Leydon from Range thinks so.
He mentions his certainty in the director of the remake, Kevin Reynolds who “proves to be completely on top of his game, instilling the grandly melodramatic permutations of the plot with company conviction and elegant gusto” (Leydon). The old film from 1934 was offered a fresh, brand-new, compelling production in 2003 filled with a lot of spectacular, distinctively envisioned action scenes. The plot in both movies is naturally no different. The peaceful life of Edmond Dantes, a twenty years old sailor on the “Pharaoh” ship, who plans to marry the lovely Mercedes, is shattered when his buddy Fernand wishes the beautiful Mercedes for himself.
3 other individuals wish to hurt Dantes for different reasons. Danglars is an accountant of the “Pharaoh” and fears that if Dantes becomes Capitan, he will lose his task because Dantes notices his abuses; young assistant prosecutor De Villefort hesitates that his dad’s connections with the dismissed Napoleon might be exposed, and the next-door neighbor of Edmond’s dad is jealous of his success. On the eve of Mercedes’s and Edmond’s wedding event, Dantes is slandered and accused of being a Bonapartist. He is sent out to the d’If castle, a prison fortress not far from Marseilles, without a chance to object his sentence.
Dantes is notified that he will remain forever in prison. He attempts suicide, but he is unexpectedly conserved by the appearance of another prisoner– Abbe Faria, who for several years has dug tunnels and tried to escape, but due to incorrect computations has actually wound up in Dantes’s cell. The two misfortunates quickly end up being buddies. Abbe Faria is an extremely informed individual and finds who sent Edmond into d’If castle and what their motives were. At that minute, he unintentionally planted the seeds of vengeance in Dantes. For 6 months, Abbe helps to inform Edmond in English, German and Spanish and presents him to math, physics, history and viewpoint.
After a year of planning their escape, Dantes and Abbe started to dig the tunnel to freedom. Unfortunately, incurable illness stalls Abbe from fulfilling their plan. Foreseeing his death, the abbot exposes to Edmond his secret treasure concealed on the island of Monte Cristo. When the abbot passes away, Dantes takes his place in a body bag and is tossed into the sea instead of the dead Abbe Faria. It is unbelievable he survived. After astonishingly handling to escape, he ends up being the extremely rich and strange Count of Monte Cristo, develops himself among the French nobility and experienced strategies his vengeance on everybody who stabbed him in the back.
He is overwhelmed by the desire to discover and assassinate his opponents, particularly Fernand Mondego who married his fiancee and had a kid with her. The story of revenge is long, filled with action and unexpected plot turns. The Count slips past the enemies and discovers their destructive secrets which assist him in developing their suffering deaths. The Count of Monte Cristo first wins the trust of his bane’s and handles to get near them to learn their weaknesses, which will be the cause of their ultimate death. Till the last minute of their life none of them understands the source of their troubles.
The change of the uneducated, ignorant and kind sailor Edmont Dantes into the smart, aristocrat with a desire for revenge is fascinating. The actor, Jim Caviezel, utilizes all elements of acting– mimics, gesture, voice, eyes– to explain the improvement. His eyes seem to be the most influential quality of his character. The efficiency of Jim Caviezel is so recording it resembles among the most well-known characters in the history of movie– Al Pacino in “The Godfather”. As tough as somebody looks for defects in the film, they can not. The instructions of Kevin Reynolds is at a really high level without needing to utilize flashy or low-cost results.
He understands where to stop a scene, what to do with it, and always selects the most appropriate angle in order to engage audiences in the moment. An example of this is the really first scene in the movie. 2nd mate Dantes and ship representative Mondego are aboard a sailboat to Elba, the island to which Napoleon was banished and protected. Edmont and Fernand get on coast to seek medical materials for their dying captain. Upon seeing them, the British horsemen very first assume Edmont and Fernand are here to free Napoleon. An action scene commences as the British open fire at the 2 ailors from the “Pharaoh” ship. The guards have no intention of listening to or thinking what Edmont attempts to inform them (that they only seek medical support). The special element in “The Count of Monte Cristo” is the electronic camera position and rotation which is used in the really first scene. The filming is done from above, thus exposing the audience to whole field on which Edmont and Fernand battle the British soldiers. The camera rotates around the actors and zooms in on their faces to show the facial expressions as they combat. Dim light from the moon reflects in their sweaty faces.
Before we understand it, the video camera takes us back in the air once again, and we can see more British troops rapidly approaching in the far distance. Besides from above, video cameras are also shooting from below (the moment when Napoleon appears). This continuous rotation from above to listed below involves the audiences in the scene. We are entirely aware of the location of each character in the moment. After Napoleon “saves” our brave character looking for aid for their passing away captain, the previous Emperor of France accompanies them to the physician. At which point they enter his cabin and we notice the second special visual element in the movie– darkness.
Nearly half of the film is shot in the dark and usually the only light supplied is by the Moon’s reflection (outside scenes) and candles (indoor scenes). This aesthetic component assists the viewer experience what lighting may have resembled during the Renaissance period. About one 4th of the film occurs in the dreadful chateau d’If which is the absolute ideal example of how to utilize virtual darkness in scenes. With Dantes’s arrival in d’If castle, we are teleported to his brand-new “home” for the next 16 years, filled only with darkness and horrid poundings.
What do we think of when we hear the word “darkness”? Fear, death, misery? This is precisely what the director desires us to feel when we are seeing scenes from d’If castle. Worry– from the annual pounding they provide all innocent detainees. Death– that ultimately comes either from hunger or suicide. Misery– being exposed to just a little window of light and one meal a day. Another noticeable visual element in “The Count of Monte Cristo” is making use of the blur result. The director typically blurs the background to set more concentrate on what’s happening in the scene.
We see this visual aspect throughout the entire film, primarily throughout dialog accompanied with a close up on the characters deals with for instance, the scene of Mercedes and Edmont speaking by the rocks. The electronic camera is concentrated on their faces when we see Fernand approaching from the range. Seconds later, the focus is altered to Fernand as Mercedes and Edmont are blurred to the viewers. When Edmont shares the news of his promotion we can see the jealousy and disappointment on Fernand’s face. Speaking of characters deals with, the motion picture likewise focuses on the representation of characters’ eyes.
The clearest example of this would be the dinner scene at Fernand and Mercedes’s mansion for their child Albert’s birthday. After saving the children life, Count Monte Cristo was welcomed to the Mondego house for Albert’s birthday party. Throughout the whole night, Monte Cristo and Mercedes exchange looks as the Countess Montego starts acknowledging the love of her life, Edmont Dantes, in the brand-new French aristocrat. They exchange expressions, looks, smiles which reveal to us what the characters are thinking. Such information make “The Count of Monte Cristo” a “lavishly installed and appealingly old-fashioned swashbuckler” (Leydon).
The reviewer of “The Count of Monte Cristo” on Variety– John Leydon– provides a fantastic summary of the movie. He writes about the stars, plot and instructions without entering depth on a particular subject or praising/ slamming the movie in excess. Those are the precise qualities of a good movie evaluation. This raises a burning concern– who can compose a movie evaluation? In the short article “Movie criticism in the age of the Internet” the editors of Cineaste recommend “it often seems that everyone is a critic” (Cineaste), and we can all concur with that.
Nowadays, individuals can view, comment and compose anything on the Web. Anyone can register on a blog or online forum and begin composing evaluations of motion pictures. It does not even matter how excellent their writing is or what position they takes due to the fact that today “everyone’s a critic” (Cineaste). The expression “quality over amount” can rather properly apply here. There are more and more movie reviewers on the Web, to whom Cineaste refers to as “beginners” (Cineaste), “berserk teens” (Cineaste) or typically– modern film critics.
Tobias Grey’s ideas on this new age of criticism in his post “Discussing movie criticism” is that “modern-day movie criticism is far too subjective and not almost analytical sufficient” (Grey) in addition– “criticism is considered to be dead, film criticism specifically so.” (Jesse Walker). While this may appear bad, I like the reality that if you do not delight in a particular movie, you’re not always a bad reviewer or an individual with no taste in film since “you have a soulmate in cyberspace, and he posted his thoughts (which correspond yours) on a now-defunct interactive Website” (Walker).
So, what does all of this tell us? The large quantity of film criticism on the Internet kills the genuine significance of quality level film criticism, however it exposes us to more writers’ ideas and opinions. The editors in Cineaste express their hope that “great criticism will predominate over bad in both magazines and the Web– which increased bids for corporate and government control of the online world will not muffle, or silence, the numerous lively online voices (a few of whom are represented in our symposium) that have currently changed the face of contemporary movie criticism. “The Count of Monte Cristo” is a catching and remarkable movie. The classical love story in the 1800’s intrigues the audience and the action gets your attention. It is a favorite film for individuals of any ages due to the fact that it shows human qualities that last permanently such as greed, desire for revenge, love and more. Evaluating the motion picture as art I paid more attention to the video camera motion and lens zoom that made me recognize how great the film actually is. The director communicates with us through visual language and the characters expose their thoughts through their facial expressions.
A close up on the primary character’s troubled face or shaking eyeballs can inform us a lot more than dialog. I like “The Count of Monte Cristo” for the special attention to information. They connect us with to movie and we experience it in a various way. Such small information may appear like not a big deal if you watch the movie for its story, but if you focus and view the film as art you ‘d see there is a lot more than dialog and action scenes to “The Count of Monte Cristo”. Bibliography “Film criticism in the age of the Internet. Cineaste Fall 2008: 1. General Referral Center GOLD. Web. 6 Dec. 2011. Grey, Tobias. “Discussing film criticism: Europeans share viewpoints on the photos they review and likewise on the credentials for being a well-rounded critic. ” Variety 29 Oct. 2007: A2+. General Reference Center GOLD. Web. 6 Dec. 2011. Leydon, Joe. “The Count of Monte Cristo.” Variety. n. pag. Web. 24 Jan 2002. Walker, Jesse. “Everyone’s a critic: Don’t shed any tears for cinephilia. ” Factor June 2002: 62. General Recommendation Center GOLD. Web. 6 Dec. 2011.