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.
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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
Cast:
- 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 love components, because they are awesome.
This is not vengeance, this is justice.
Language:
Français,Italiano,Română
Production:
France
Company:
Chapter 2,Fargo Films,Pathé,M6 Films
Popularity:
715.689
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.
