The Count of Monte-Cristo

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Edmond Dantes becomes the target of a sinister plot and is arrested on his wedding day for a crime he did not commit. After 14 years in the island prison of Château d’If, he manages a daring escape. Now rich beyond his dreams, he assumes the identity of the Count of Monte-Cristo and exacts his revenge on the three men who betrayed him.

Credits: TheMovieDb.

Edmond Dantès / le Comte de Monte-Cristo / Lord Halifax: Pierre Niney
Fernand de Morcerf: Bastien Bouillon
Mercédès Herrera: Anaïs Demoustier
Haydée: Anamaria Vartolomei
Gérard de Villefort: Laurent Lafitte
Abbé Faria: Pierfrancesco Favino
Danglars: Patrick Mille
Albert de Morcerf: Vassili Schneider
Andrea: Julien de Saint Jean
Victoria: Julie de Bona
Angèle: Adèle Simphal
Caderousse: Stéphane Varupenne
Eugénie Danglars: Marie Narbonne
Morrel: Bruno Raffaelli
Jacopo: Abde Maziane
Haydée à 10 ans: Amaya Ducellier
Le témoin du duel: Oscar Lesage
Maximilien Morrel: Joachim Simon
Yvonne: Françoise Gazio
le serviteur du baron Danglars: Axel Baille
Suzanne, l’amie d’Eugénie: Lily Dupont
le gardien du château d’If: Olivier Le Montagner
Antoine, le gardien de prison: Jérémie Covillault
Louis Dantès, père d’Edmond: Bernard Blancan
Mme de Morcerf: Graziella Delerm
M. de Morcerf: Xavier de Guillebon
Mme de Villefort: Clémentine Baert
Mme Herrera: Florence Muller
un juge: Serge Bagdassarian
le curé: Jean-Louis Tribes
un convive du repas chez les Morcef: Laurent Dassault

Crew:

Production Design: Stéphane Taillasson
Makeup Effects: Frédéric Balmer
Key Hair Stylist: Agathe Dupuis
Key Hair Stylist: Cécile Gentilin
Key Makeup Artist: Laura Ozier
Key Makeup Artist: Stéphane Robert
Key Makeup Artist: Chloé Van Lierde
Post-Production Manager: Chloé Bianchi
Second Assistant Director: Justine Arrestier
Assistant Director: Julien Dara
Third Assistant Director: Neige de la Patellière
First Assistant Director: Daniel Dittmann
Second Assistant Director: Amandine Petit-Brisson
Third Assistant Director: Maxence Robin
Storyboard Artist: Eric Gandois
Sound: David Rit
Boom Operator: Malo Thouément
Boom Operator: Emmanuel Ughetto
Special Effects Supervisor: Olivier Nguyen
Stunts: Benjamin Colussi
Stunts: Thomas Dedeken
Stunts: Andy Deschamps
Stunts: Julien Duverger
Stunt Double: Axel Sarrazin
Drone Operator: Jorge Escribens
Key Grip: Antonin Gendre
Gaffer: Eric Gies
Rigging Grip: Tanguy Goasguen
Still Photographer: Rémy Grandroques
Still Photographer: Jérôme Prébois
Colorist: Mickaël Commereuc
Assistant Script: Amandine Derdoukh
Script Supervisor: Marie Gennesseaux
Colorist: Léa Audouin
Assistant Location Manager: Jean Bolzinger
Unit Manager: Alexandre Houllier
Assistant Location Manager: Anton Migoya
Music Supervisor: Pierre-Marie Dru
Casting Coordinator: Duska Malesevic
Extras Casting Assistant: Angélique Muller
Second Assistant Camera: Ivan Zarb Ferrante
Gaffer: Gideon van Essen
Electrician: Benjamin Tessier
Electrician: Julien Rabia
Video Assist Operator: Juliette Poirot
Underwater Director of Photography: Cinediving Wim Michiels
First Assistant “A” Camera: Jeremy Mauroy
Rigging Grip: Jonathan Ly
Best Boy Electrician: Jean-Bernard Lortie
Second Assistant “A” Camera: Marine Lebon
Lighting Programmer: Eric Kirchhoffer
Data Management Technician: Romane Jammes
First Assistant Camera: Margaux Hallenstein
Lighting Programmer: Jean Gonzales
Second Assistant “B” Camera: Jules Forssell
Video Assist Operator: Bartolome Delaporte
Electrician: Hugo Delahoutre
Camera Operator: Steve de Rocco
Video Assist Operator: Raphaël de Crozals
Electrician: Damien Bret
Camera Operator: Eric Bialas
First Assistant “B” Camera: Sarah Bensaïd
Grip: Nicolas Ballay
Special Effects Technician: Lawrence Attard
Special Effects Technician: Joe Calleja
Special Effects Technician: Matthew Calleja
Special Effects Technician: Kenneth Cassar
Special Effects Technician: Paul Cassar
Special Effects Technician: Robert Grech
Special Effects Technician: Justin Montebello
Graphic Designer: Adèle Pignier
Swing: Gaël Langlais
Carpenter: Gildas Cabanne
Swing: Léopold Bossuet
Production Manager: Robin Welch
Production Manager: Laurent Hanon
Production Secretary: Estelle Gras
Makeup Artist: Michaela Daroussi
Hairstylist: Alexandra Becquet
Online Editor: Théodore Julia
Costume Coordinator: Guillemette Guyot
Costume Supervisor: Bruce Lignerat
Stunts: Jill Surtees
Stunt Double: Laura Cassagne
Sound Engineer: Charles Michaud
Property Master: Lauriane Vannier
Set Dresser: Barthelemy Thomas
Standby Property Master: Merijn Sep
Assistant Property Master: Alexis Pont
Graphic Designer: Selya Karamahmut
Storyboard Artist: Jonathan Delerue
Props: Pauline Bouvet
Assistant Art Director: Sven Bonnici
Property Master: Édouard Blaise
Screenplay: Alexandre de La Patellière
Screenplay: Matthieu Delaporte
Producer: Dimitri Rassam
Novel: Alexandre Dumas
Director of Photography: Nicolas Bolduc
Costume Design: Thierry Delettre
Producer: Cédric Iland

Catogories:

I be mad for extensions, because they are magnificent.

This is not vengeance, this is justice.
Language:
English,Français,Italiano,Română
Production:
France
Company:
Chapter 2,Fargo Films,Pathé,M6 Films
Popularity:
661.945
Date:
2024-06-28
Year:
2024

CinemaSerf: “Dantès” (Pierre Niney) is to be promoted to captain a ship for the wealthy “Morrel” (Bruno Raffaelli) after he disobeyed orders at sea and dived in to rescue a woman from drowning. This action immediately earns him the enmity of the now fired captain “Danglars” (Patrick Mille) and then just as his joy is to be complete with his marriage to “Mercedes” (Anaïs Demoustier) the soldiers arrive and he’s implicated in a Napoleonic plot! The prosecutor, “de Villefort” (Laurent Lafitte) appears sympathetic and accepts his pleas of innocence, but when his close friend “Morcef” (Bastien Bouillon) is called upon to vouch for “Dantès” his own envious agenda takes hold and next, our naive young seaman is heading to the solitude of the Chateau D’If from which prisoners never escape. As the years of relentless frustration and boredom go by, his only conversation is a regular call from his jailers to see if he’s still alive. Then a miracle occurs. Another prisoner has been tunnelling for years and inadvertently breaks through to his cell. It’s this man – the Abbé Faria (Pierfrancesco Favino) – who gives him more than a little education as they try to dig their way to the sea wall. It’s not to be for both, though, but armed with a knowledge that could change his life for ever, he manages to trick the guards and make it to land. It’s now that the story of revenge hots up as we jump forward a few years and are introduced to the eponymous Count. He travels in style, has great wealth and style and is determined to avenge himself on the three men who framed him. As with himself, these men have gone on to great things with his denouncing friend now married to his love, “Danglars” owning a great trading fleet and the prosecutor now a powerful state official. “Dantès” has used his time well, assembling some allies whose roles in this unfolding drama are gradually revealed to us as politics, greed and jealousy stride to the fore of this classically designed production. The lavish costumes, stately homes and opulence of their lives contrasts well with the poverty and ruin faced by those collaterally damaged by the ambitions of men who cared but for themselves, and for whom our dashing and calculation gazillionaire is gunning. Nimey (who occasionally looked a bit like Kevin Kline here?) delivers that wronged and now Machiavellian characterisation especially well. There are also strong efforts from the younger characters “Albert” (Vassili Schneider); “André” (Julien De Saint Jean) and “Haydée” (Anamaria Vartolomei). It’s essentially a thoroughly potent story of revenge, but it’s as much about just how that can become a toxic influence that can eat into a man’s soul and the challenge for “Dantès” and those around him whom he loves – however unwillingly on the surface – is not to become an obsessed demon every bit as ghastly as those he wishes to punish. It’s this slow, dripping, evolution that the film delivers enthrallingly as we see this troubled man tread an increasingly conflicted line between love and hate. Revenge is said to be a dish best served cold, but like most things served cold – it doesn’t keep for long.
Wielo: The 2024 reimagining of The Count of Monte Cristo is a cinematic triumph, setting a new benchmark for adaptations of the beloved Dumas classic. Directed by Jacques Bernard, this latest French interpretation is nothing short of spellbinding, with Pierre Niney delivering a portrayal of Edmond Dantès that feels both deeply authentic and timeless. From Dantès’ naive beginnings to his calculated, unrelenting vengeance, Niney embodies the role with a level of intensity and depth that captivates from the very first scene.
Visually, the film is breathtaking. The cinematography paints each setting—from the claustrophobic depths of Château d’If to the grandeur of Parisian society—in vivid, atmospheric detail. Every shot feels like a piece of art, masterfully capturing both the story’s drama and its rich historical backdrop. The film’s use of real locations transports viewers to the story’s world, making each moment feel hauntingly real, a rare achievement in period cinema.

Adding to the experience is a lush, evocative score that amplifies the film’s emotional power. The music captures Dantès’ inner turmoil and triumph with remarkable sensitivity, lending every high-stakes scene an added layer of tension. It’s a soundtrack that will stay with you long after leaving the theater, a perfect companion to Dumas’ tale of betrayal and redemption.

The film’s costumes, masks, and makeup are absolutely spectacular. Every detail—whether the intricate designs of Dantès’ masquerade attire or the worn expressions on characters weathered by hardship—feels perfectly tailored to the time period. The masks, in particular, add an air of intrigue, shrouding key characters in mystery and creating a rich visual metaphor for the story’s themes of deception and disguise.

At a generous three hours, The Count of Monte Cristo thoroughly explores Dantès’ journey, though I found myself wishing it were even longer. An adaptation of this depth and quality could have easily been extended to a two-part epic, much like last year’s exquisite French rendition of The Three Musketeers, with an expanded runtime of four or five hours to fully savor each intricate turn of Dantès’ revenge.

In every respect, this 2024 version is a masterpiece and, without a doubt, the definitive Monte Cristo for a modern audience. It balances faithfulness to Dumas’ original with bold, cinematic flair, capturing the story’s essence in a way that is grand, poignant, and unforgettable. This is a film that will surely stand the test of time.

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