From Joe Peltzer

Alexandre Dumas’ 1844 classic novel ‘The Three Musketeers’ has seen a myriad of adaptations over the years, from the 1973 and 1993 films of the same name to interpretations such as 1998’s Leonardo DiCaprio-fronted The Man in the Iron Mask (my personal favorite). Just in 2023 alone, there are various new entries hitting the market, Martin Bourboulon’s French adaptation The Three Musketeers: D’Artagnan being one them, a superb reinvention of the characters and an exciting beginning to an epic two-part series.

The film follows D’Artagnan (François Civil) who travels to Paris to join the King Louis XIII’s (Louis Garrel) Musketeers where he ends up offending each of them, agreeing to duels, and ultimately fighting alongside the revered men as conspiratorial forces work to drive France into conflict with England. Bourboulon’s film makes a quick impact with exhilarating action filmed in a frenzied, yet focused manner that echoes the scene playing out. Civil is instantly captivating as the sexy young D’Artagnan, playing the character with a mix of confidence and exuberance that is easy to invest in. Vincent Cassel brings a veteran presence to the group as Athos, while Romain Duris plays Aramis a charmer in Aramis and Pio Marmaĩ rounds out the crew with a modernized Porthos that fits the overall story well. We are asked to jump right in and quickly learn of the Musketeers’ status and role in France without much background, something that may frustrate those less familiar with the property. Conversely, however, Bourboulon’s film hits the ground running in refreshing fashion.

Writers Matthieu Delaporte and Alexandre de La Patellière have crafted a political mystery of sorts that maintains the spirit of the source material while infusing the story with fresh ideas at every turn. None of the creative choices feel forced, rather each is easily acceptable in the world presented. Eva Green brings mystery and a level of diabolicalness as the antagonist Milady; you get a sense throughout that she isn’t just a pawn, but a manipulative villain in the shadows always in control. Though the stakes are high, The Three Musketeers: D’Artagnan maintains its core of fun throughout, never not intriguing and enjoyable.

Production Designer Stéphane Taillasson transports the audience back to 1600s France (and momentarily England) with vibrant set designs that straddle historical accuracy with fresh presentation. The same can be said for Thierry Delettre’s costume design that immediately feels updated, but is instantly recognizable. There are moments where characters blend together due to similarities in look, making it slightly confusing to at times to keep track of what is going on (especially in the action sequences), but that also is reminiscent of the time. 

In the end, Bourboulon’s clear vision comes together for perhaps the tightest, most focused reinterpretation of ‘The Three Musketeers’ to date, one that leaves the audience wanting more. What a pleasant surprise. Thankfully we won’t have to wait long as the second part of the series, The Three Musketeers: Milady is scheduled for release in December.

Rating: 4/5

The Three Musketeers: D’Artagnan screened at the 32nd Philadelphia Film Festival.

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