Skip to main content

The Three Musketeers: D'Artagnan


Here's another version of the Alexandre Dumas classic, the latest in a long line of adaptations, possibly starting in 1903, but probably most famously directed by Richard Lester in the 70s (or the Douglas Fairbanks film in the 20s, if you want to go back that far). This one, directed by Martin Bourboulon, is given all bells and whistles - it was filmed together with its second part, The Three Musketeers: Milady and they had a pretty sizeable budget, apparently. I'm guessing a lot of those Euros went on the stellar cast - Vincent Cassel as Athos, Romain Duris as Aramis, Eva Green as Milady, and Vicki Krieps and Loius Garrel as the Queen and King. All on sterling form, though it's François Civil as the lead, D'Artagnan and Lyna Khoudri as Constance who must take the plaudits. The innocence of their burgeoning romance is the heart within the film that all the religious and political arteries feed into. 

The story is slightly convoluted but it all spins around the affairs of the court of King Louis XIII, where Cardinal de Richelieu (Eric Ruf) is scheming to start a war against the Protestants and their backers, the English. The Cardinal's troops are constantly butting heads (and swords) with the King's Guard (or Musketeers, to steer us away from King's Landing) and it's one of these occasions where D'Artagnan shows his mettle to the titular trio, Athos, Aramis and Porthos (Pio Marmaï), even though all three were originally lining up to duel him to the death anyway. The fight scenes are enacted with some aplomb, all swinging camera and frenetic energy. 


The film is stylishly grungy and full of verve, with equal servings of bucklers being swashed and skulls being duggeried. The tone is quite straight-edged, not too whimsical and dandy, but not at all arch or snide either. I imagine Monsieur Dumas' estate is very pleased with the treatment of his story and characters. One issue is that this is just the first part of the duology, therefore much of the story acts as a primer for the second coat. That aside, the setting up is pretty well handled, with enough posers to entice me to see the follow up.

There is a lot of intrigue in this, including a weak-willed but reasonable King, a Queen playing away from home with a Pommy Duke, an underground Protestant terror outfit and, in a nicely done final flourish, a wedding scene that was not quite 'red', as such, but near enough to a bloodbath as makes no mind.

All in all, I reckon I'll wait on the second installment to fully judge the pair, but as an opening episode, this has a lot of merit, leaving us with a cliffhanger to go home with. À bientôt, Milady.

The Three Musketeers: D'Artagnan is screening as part of the Alliance Francaise French Film Festival around Australia. In Perth, it's on at Palace and Luna cinemas.

See also:

I'll always direct folk to Jacques Audiard's The Beat That My Heart Skipped (2005), starring a superb Romain Duris (Aramis). Also, a film from last years FFF, directed by, co-written by, AND starring Louis Garrel (Louis XIII), The Innocent (2022) was a little charmer.

Comments

Popular posts from this blog

One Battle After Another

Before this film, Paul Thomas Anderson had at least one certifiable classic on his CV in There Will Be Blood . Now, make that two. In saying this, most of his films range from good to brilliant. This is his second adaptation of a Thomas Pynchon novel (after the uneven but interesting Inherent Vice ) and it looks at the lives of modern American revolutionaries, notably members of French 75. The group are apparently named after a WWI weapon, and then a cocktail, both of which have something of a kick.  Leonardo DiCaprio plays Bob, The Rocket Man, who makes the ordnance for the group and is in a relationship with fellow revolutionary, Perfidia (Teyana Taylor). A combination of a run-in with Sean Penn's Colonel Steven Lockjaw, and a rash killing of a security guard triggers more interest in the group, and so a roundup begins. Perfidia is caught, then forced to name names before doing a runner. But not before she has a daughter with Bob, whom he is left to raise on the run. After this f...

The Ballad of Wallis Island

Tim Key adds value to every film or TV show he appears in but here he has found his perfect role. Of course, it helps if you write the thing yourself (with help from co-star, Tom Basden). Key plays Charles, a slightly buffoonish, slightly clever 'lord of the manor' type who has invited Basden's Herb to his lightly-populated island to play a gig. Herb was part of a reasonably successful folk duo in years past but is now solo, and experimenting with genres (As another character queries, "Is 'commercial' a genre?"). Charles has the means to pay handsomely for this intimate concert but Herb isn't aware just how intimate it promises to be. Nor is he aware that Charles has also invited the other half of McGwyer/Mortimer, Nell, to the island, in order to reunite after nearly 10 years. Nell is played by Carey Mulligan, another casting triumph. She's always great but is really natural and confident here, with a fine singing voice (also heard in Inside Llewy...

Sicilian Letters

This Italian Film Festival offering is a post-mafia story from writer/director pair, Fabio Grassadonia and Antonio Piazza. Ex-school principal and local politician, Catello (Toni Servillo) is released from prison in the early 2000s, only to be co-opted by the Italian Secret Service to help apprehend the last Cosa Nostra boss still at large, Matteo Messina Denaro (Elio Germano). Catello is the perfect patsy. He was a good friend of Denaro's father, Don Gaetano, who made Catello the Godfather to young Matteo. I should mention this is based loosely on the life of Denaro, though it's at pains to acknowledge that much of this story is fabricated (a title card reads "Loosely inspired by real events, though the film's characters are the fruits of the authors' imagination.") In this chunk of Denaro's life on the run, Catello is tasked with writing letters to the fugitive, via a bespoke butcher-based post office. Initially, Denaro is moved by Catello's prose a...

The Long Walk

I had a bit of time to spare while the car was getting a service so I decided to visit the Greater Union Morley cinemas one last time (it closed a few days after I saw this). I think this was the first cinema I went to when I came back from Japan in 2016 and sadly, it hadn't had a touch up since then, possibly not for a long time before either. Fingers crossed for a brand spanking new cinema complex one day.  Anyway, the film I saw was The Long Walk , and it's a bit of an oddity. It's based on a Stephen King (writing as Richard Bachman) book from 1979. King seems to have a thing for these dystopian 'last one standing' stories (see also The Running Man , an Arnie adaptation was made in 1987, and Edgar Wright has a new version up his sleeve, opening soon). Director Francis Lawrence returns to the theme of his Hunger Games films, riffing on Battle Royale , but also, many of these types of films where characters get picked off one by one, from Alien to Monty Python an...

Caught Stealing

Darren Aronofsky seems to have been more prolific but this is just his 9th feature since his debut, Pi , in 1998, which is, coincidentally, when this new film is set. And it's a film that wears its love for New York City on its sleeve. There are shots of the Twin Towers, streets full of rubbish, dingy apartments, and even a brief pass by of the iconic Kim's Video store (now immortalised in a documentary of the same name). Austin Butler stars as Hank, a former wunderkind baseball player whose careless driving ruined his pro sports future, but also crucially took the life of a friend, a passenger in the car. Some wag on Letterboxd said this film was a great advert for seatbelts, it's a recurring Public Service Announcement. Hank is getting by in NY, thinking of getting serious with his girlfriend, Yvonne (Zoë Kravitz), and generally wallowing in his lost opportunities.  Events turn when neighbour Russ (Matt Smith), an obnoxious punk geezer, pops back to Laaaahhnd'n for a ...

Splitsville

This is the second film I've seen in a row where two blokes wrote the film and also starred in it ( see previous review ). This time round the two blokes are Michael Angelo Covino (also directing) and Kyle Marvin. The coup was signing Dakota Johnson and Adria Arjona to play the wives, Julie and Ashley. On the face of it, it's hard to believe that these women would be with these two spuds, but the script allows for a suspension of disbelief. Marvin plays Carey, just over a year into marriage with Ashley (Arjona). On the way to a waterfront weekend with Paul and Julie (Covino and Johnson), Ashley explains that she wants a divorce. The trigger may have had something to do with them being part of a road accident death, a darkly amusing opening scene. Carey leaves the car in a panic and eventually finds his way to the beach house. Distraught, he decides to wallow with his friends until a discretion threatens to blow apart the relationship. To be clear, Julie and Paul's open rela...

The Naked Gun

This uncalled for remake of 1988's The Naked Gun: From the Files of Police Squad! is not a patch on the original, nor the TV show, Police Squad! that spawned them both. Director Akiva Schaffer has plenty of pedigree with stupid comedy, having directed oodles of Saturday Night Live episodes, as well as films like Hot Rod and The Watch . I haven't seen these films but I'm not about to now. The new Naked Gun has a fairly rapid rate of jokes - many successful - in the first 30 minutes or so, but once the film had to start servicing the plot, the laughs dried up. Throughout the film, the sight gags didn't work as well as the straight-faced wordplay, à la the 'awfully big mustache' classic from The Naked Gun 2½: The Smell of Fear . This might be due to the casting. Liam Neeson is fun and tries hard, but he doesn't get anywhere near Leslie Nielsen, though I thought Pamela Anderson was an improvement on Priscilla Presley (I guess being an actual actor helps). Ab...

Revelation Film Festival 2025 - Wrap Up

That's it for Rev this year and I can't help feeling I've missed something... Eight films isn't a bad effort but there were a few that I hope I can catch somewhere later. Anyway, here are the films I saw this year, in calendar order of viewing. First up was: U are the Universe   ★ ★ ★ ½ Ambitious Ukrainian film by Pavel Ostrikov about the last person in the universe after an earth-destroying disaster. Andriy (Volodymyr Kravchuk) is running nuclear waste to Callico, a moon of Jupiter, when he gets the news. His fastidious on-board robot Maxim is his only companion until he gets a message from near Saturn.  There are some lovely moments - 2001 music reveals a replacement office chair floating through space, the Open Me message, the sinister link to 2001 (set up earlier by the music), the tenderness of the burgeoning audio relationship - all leading to a sweet but realistically depressing conclusion. Wonderful pared down, yet grand filmmaking. Of Caravan and the Dogs   ★...

The Fantastic Four: First Steps

A few years ago, we hit the S.S.P. (Superhero Saturation Point). And the best way for studios to arrest, or even maybe reverse, the law of diminishing returns is to JUST GIVE IT A FUCKING REST. There's enough residual goodwill in the fan base to guarantee profits....for now. But, as Malcolm Gladwell said, there must be a tipping point. So into this cinematic avalanche slips The Fantastic Four: First Steps , the first film of Phase Six and the thirty seventh overall! It's quite dull for the first 30 minutes, setting up the characters, ensuring the audience understands we're on a slightly different Earth (828), and a different time as well. It only gets going when the Silver Surfer (Julia Garner) appears and promises everyone death by devouring. She's not going to eat them, she works for a massive space turd called Galactus, played by Finchy himself, Ralph Ineson. He'll do the devouring. Here's the thing - this film is a perfectly serviceable entry, not brilliant,...

Friendship

Amazingly, this is a first feature from writer/director Andrew DeYoung, though he's had heaps of experience in TV and shorts. The pace is pretty tight, albeit it's a bit longer than the 'ideal' of 90 minutes for a comedy. This is a bittersweet story about stupid masculinity, loneliness, and performative societal posturing, but it certainly doesn't scrimp on the laughs. Friendship focusses on Craig (pronounced in that annoyingly American way to rhyme with Greg) (Tim Robinson), who sits right in the middle of the Larry David / David Brent / Alan Partridge Venn diagram. He's a totally oblivious tosser, but not in a mean way, he just doesn't know where the line is. Ultimately, he's lonely. He has succeeded in alienating his wife, who has recently beaten cancer, his son appears to tolerate him, but not in an eye-rolling way, and his work colleagues think he's a bit of a dick. Doesn't matter that they are also knobheads. His life takes a turn when a n...