The Count of Monte-Cristo(Le Comte de Monte-Cristo)

Antoine Corbani

In recent years, it has become a general consensus in France, from critics and the public alike, that our national cinema is progressively losing its prestige, due to the lack of incoming original ideas, star power, and writing talent. Raunchy comedic tropes and storylines are endlessly recycled (an example of which is the nightmarish “Les Tuches” franchise that is still ongoing) and the French drama was thought to have lost its voice. However, many films since the start of the decade (and their success both in France and abroad) seem to mark a revival of great French cinema: “Portrait of a Lady on Fire”, “Titane”, “Anatomy of a Fall”, and now, Alexandre de La Patellière and Matthieu Delaporte’s “The Count of Monte Cristo”. Based on Alexandre Dumas’ classic novel, it tells the story of the young Edmond Dantès, who, on the day of his wedding, is framed by monarchist bureaucrats who claim that he is an ally of the Bonapartist movement and must therefore be imprisoned. Indefinitely jailed in Marseille’s iconic Chateau d’If, Dantès plots his ambitious escape and dreams of exacting revenge on his accusers. An explosive performance from Pierre Niney as Dantès is certainly the highlight of the film, combined with the gorgeous cinematography and its depiction of Southern France, a powerful score, and ravishing costume design. A delightful feast for the eyes and ears that somehow got a considerable number of French critics to agree on its brilliance.