what is the film with Pierre Niney worth?

After writing the diptych The three MusketeersAlexandre de La Patellière and Matthieu Delaporte return with a new adaptation of the work of Alexandre Dumas, this time going behind the camera.

the count of Monte Cristo, the greatest revenge story in French literature, follows the tragic fate of Edmond Dantès, determined to make the men responsible for his imprisonment pay. Selected out of competition at the 2024 Cannes Film Festival, the film was presented to festival-goers on May 22 and received one of the best ovations of this Cannes selection. Is right !

In almost three hours of film, the two screenwriters and directors have the time to build a complete and profound story by offering a version that is as modern as it is respectful of the spirit of Dumas. This is the great strength of the feature film: accepting the main theme linked to revenge without trying to water down certain decisions and actions of the main character, even if it means giving him the role of the villain at times.

Besides that, the absolute injustice suffered by Edmond Dantès – and particularly well represented during the first hour – pushes the spectator to automatically join his camp and to see in this story of revenge a joyful execution of the most intense impulses. primaries of humanity. Take revenge, whatever the cost, and take revenge by meticulously preparing your plan.

Pierre Niney, masterful

the count of Monte Cristo Thus follows the adventures known to all of Edmond Dantès: the idyllic happy life, the imprisonment at the Chateau d’If for almost 15 years, then, the reprisals. Throughout the film, Pierre Niney embodies the different facets of Edmond Dantès with absolute talent, to the point of delivering what is undoubtedly one of the greatest performances of his career. Between his benevolence, his despair, his hatred and his physical transformation depending on the moments of the film – the makeup and hairstyles are stunning – the actor takes on the role and shapes it to his style without ever falling into the trap of the absurd , nor lose credibility. The greatest achievement of Count of Monte Cristo is undoubtedly the involvement of Pierre Niney and his performance.

The actor is nevertheless not the only one to stand out and allow the film to remain very high: Pierfrancesco Favino plays a memorable Abbé Faria, Anamaria Vartolomei gives Haydée his presence and his charm, and Laurent Lafitte delights in this role of a perfidious antagonist.

the count of Monte Cristo is a story of revenge, but also a tale of adventure and mystery. When the character of Edmond is imprisoned at the Chateau d’If and meets Abbot Faria, the enigmatic speech of Edmond’s cellmate concerning a mysterious treasure offers the film its tipping point: what to do with wealth infinite and a deep hatred in his heart?

The entire long passage in the cells of the Chateau d’If is one of the greatest moments of the film, thanks to the characterization of the characters and the development of the main themes of the story.

Tell without saying

Alexandre de La Patellière and Matthieu Delaporte de facto manage to use cinematographic language to give the main reading points to the spectators. Without ever weighing down the story with superficial exposition, they know how to content themselves with a look, a gesture or an emotion on the face to establish the issues and the destinies of the different characters. The film constantly travels and makes protagonists and antagonists evolve according to their desires and their relationship with others.

Equally successful, the film does not seek to reveal all the facets and history of Edmond Dantès during his vengeful preparation. While keeping an element of mystery, the count of Monte Cristo cultivates both its relationship with adventure and the epic fresco, as well as the charisma of its main character, capable of being several steps ahead of the others.

With a sustained pace allowing the almost three hours of film to pass without ever feeling them, the count of Monte Cristo evolves visually throughout its progress.

Here again, the screenwriters/directors adopt a careful stance regarding the artistic direction. After a joyful and colorful introduction, they give their work a more gothic look, respecting the work of Dumas. When the count declares himself for the first time, the atmosphere darkens and the photography follows this evolution. In a memorable scene in a candle-lit residence, the macabre is at its peak, as is Edmond’s underlying violence.

Without ever watering down its words around hatred and revenge, the count of Monte Cristo is also a love story and a touching romance between two unjustly separated lovers. The relationship between Pierre Niney and Anaïs Demoustier is particularly beautiful, supported by a recurring musical theme which offers the film its most poetic moments.

Intense, rich and embodied at each stage of production, this new adaptation of Count of Monte Cristo reminds us how timeless Alexandre Dumas’ book is. Without losing sight of the contemporary aspect of the staging and the atmosphere, the film by Alexandre de La Patellière and Matthieu Delaporte is a particularly dense and assertive work, which never compromises with its ambiguity. Revenge is definitely a dish best served cold.

the count of Monte Cristo by Alexandre de La Patellière and Matthieu Delaporte, 2h58, with Pierre Niney, Laurent Lafitte, Anaïs Demoustier and Bastien Bouillon, at the cinema on June 28, 2024.