Alexandre Dumas’ 1884 adventure novel The Count of Monte-Cristo has no shortage of adaptations across film, television, sequel books, plays, musicals, and audio interpretations. Directors Alexandre de La Patellière and Matthieu Delaporte breathe new life into the classic revenge tale for a new age, transporting audiences into a nearly 3-hour tale that feels lived in.

The year is 1815 in Marseille, France. A 22-year-old Edmond Dantès (Pierre Niney) is promoted to the captain and eagerly awaits marrying his fiancée, Mercédès (Anaïs Demoustier). His good fortune turns on its head when jealous peers frame him for a crime he didn’t commit, landing him in the Château d'If dungeons for over a decade. After his great escape, Edmond plans revenge against those who took everything from him.

After Napoleon’s exile, France remains vigilant of his supporters aiding in his return to power. Merchant ship Pharaon comes across another vessel in peril with a mysterious woman named Angèle (Adèle Simphal) drowning. Edmond leaps into the ocean to save her from drowning. His bravery earns him the captain title, but it also results in Captain Danglars’ (Patrick Mille) dismissal. This heroic act presents him with a bright future cut short by several years of misery, transforming his warmth into a cold resilience determined to see his foes suffer a fate worse than death. 

The Count of Monte-Cristo shifts its tone from one arc to the next over its lengthy runtime. It begins as a romance of sorts, establishing his love for Mercédès and life, in general. Next, a prison break movie, where he connects with fellow Château d'If prisoner, Abbé Faria (Pierfrancesco Favino), who informs him of a great treasure. Finally, the third act morphs into a revenge story, where he leads accomplices Haydée (Anamaria Vartolomei) and Andréa (Julien De Saint Jean) to execute his grand plan. It’s a lot to take in, but each segment is handled with care, making the cast of characters and their plights feel tangible and pressing.

This historical story has an “eat the rich” angle about the dilemma between hate and love, where power comes with self-destruction. Edmond’s integrity and will are tested by blessings in disguise. Whether it’s the feeling of belonging or the physical and intellectual gifts from Abbé, The Count of Monte-Cristo is a fascinating character study that moves from one genre to the next without losing the focus of its lead on the journey for revenge that doesn’t come without its costs. It’s just a shame that the climactic final battle doesn’t quire measure up to all of that build-up.

Niney fronts a stellar ensemble cast, each capturing the information-rich plot at work. The crafts are gorgeous, boasting staggering costumes, production design, and cinematography. It switches between monumental landscapes and tight, claustrophobic spaces, making every frame feel like it’s pulled out of a big-budget Hollywood picture.

The Count of Monte-Cristo is a supremely satisfying epic that imbues a classic story for a new age. The imposing runtime doesn’t feel as long as it is, tackling an ambitious amount of material, although it still begs for more depth to its supporting characters. Even so, de La Patellière and Delaporte’s smooth tonal transitions across time jumps are commendable. This slice of filmmaking feels like a return to a cinematic era that we rarely see anymore, but it’s further proof that it can still captivate.

Rating: 4/5

The Count of Monte-Cristo played at Fantasia 2024 on July 19th, 2024.