#matthieu delaporte

[adaptationsdaily]

Le Comte de Monte Cristo | The Count of Monte Cristo (2024) dir. Matthieu Delaporte & Alexandre de La Patellière

[nice1cream]

So, "The count of Monte Cristo" 2024, right? In this scene, when Fernand says the toast, my mind glitched a bit

He said "To Edmond, who became the youngest captain in Marseille!" which is understandable.

But then he went on to say "And to Matilde Dantés, who gave birth to the future war hero and the most handsome parr of France, Fernand de Morcerf".

So ofc I was like "Who the heck is Matilde Dantés?" and this is the most logical explanation I came up with

Matilde Dantés is the sister of Louis Dantés, Edmond's father. And that kind of makes Edmond and Fernand cousins...

Same goes for Fernand and Mercedes. They even called each other cousins and Mercedes said that Fernand would convince her mother that Edmond was gonna be a good husband for her, justifying it by saying that "Fernand is her favourite nephew".

Which means that Fernand's father, count de Morcerf, and Mercedes's mom were also siblings.

Oh but Mercedes's surname was Herrera de Morcerf! Her father was Fernand's father's brother! Well jokes on you, that is also pretty easily explainable.

You see, Mercedes was Spanish and Spanish people have two surnames - first one from the father, second one from the mother. Mercedes Herrera (father's last name) de Morcerf (mother's last name).

Mercedes and Edmond technically weren't related, but they had a common cousin, Fernand.

Don't ask me why Fernand married Mercedes then. Rich people used to do that all the time. Also what I said is only canon to the movie. I doubt there were any blood relations between these three in the original, especially considering that none of them were born as nobles.

[agentnico]

The Count of Monte-Cristo (2024) review

Je suis Batman!!

Plot: 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.

I’ve been really enjoying this recent wave of French blockbuster cinema creating these lavish big-budget adaptions of their nation’s classic literature, with the recent highly enjoyable duology romp of The Three Musketeers (D’Artagnan and Milady respectively) and now taking on The Count of Monte-Cristo. I was a major admirer of Alexander Dumas’ novels when I was a kid, and by admirer I mean my father used to force me to read those books which at the time I hated him for, as I much rather would have spent hours on end on my GameCube, but now am forever grateful that I have the knowledge of storytelling which I gained from reading those pieces of literature. So I’m eagerly hoping that now with these expensive modern movie takes we will also get some of Dumas’ other great works get the contemporary cinematic treatment, such as La Dame de Monsoreau and The Black Tulip (though the latter may be difficult as there is already an older film version starring Alain Delon, and would be hard to recast Delon, let’s not kid ourselves!). As for Monte-Cristo, I’m not even going to sugar-coat it - this is a fantastic modern adaptation of a classic!

The sets are great and really invoke the post-Napoleon era of France; the costumes are gorgeous; the music score is grandiose and epic, really engrossing you in this decade spanning saga of revenge; the classic story is reinterpreted so well with the themes and the emotion, and the acting across the board is superb. Oh and the cinematography is to die for - wonderful long shot landscape sequences, great use of lighting, gorgeous shots of interior palaces - you can tell this film has been given all the money in the world, only unlike Amazon’s Rings of Power TV series that looks expensive but lacks any narrative depth, this film is both great to look at but also has a great story with awesome performance. Look, I really really liked this movie, let me rave about it!! Of course if you’re not French, you have to deal with subtitles, however don’t let that sway you, as this move manages to tell so much using its visuals and powerful music score that at times you don’t even need to read the subtitles to understand the emotion the characters on screen are going through.

Pierre Niney is honestly superb as the titular Count. From how he showcases him in his younger years as the excited young sailor wanting to prove himself to years later being this highly intelligent and driven yet calm presence, as well as taking on the various alter-ego’s of the Count using his different masks (very reminiscent of Fantomas) such as the dastardly Lord Halifax - Niney does such a stellar job here. What I also loved is how this adaptation takes the “superhero origin” approach to Dumas’ classic, with the Count being showcased as this cool dark vigilante like Batman/Bruce Wayne or Zorro, and even his dark menacing suit (which is dapper as f*** by the way!!) emphasising that. All the props to Niney, he adds so many layers and nuance to his performance, that even when he is super reserved as the Count, you can tell in his eyes the disdain and pure hatred he has for the ones that wronged him, but at the same time being able to showcase his guard dropping slightly when he is in the presence of his beloved lost love Mercédès (played gracefully by Anaïs Demoustier).

As for negatives, as even though I absolutely adored this movie, the inner critic within me still can’t help himself. This is a 3-hour long movie, and granted that is a result of the weight of the original book, however you do feel the length of this thing, but at the same time certain parts feel a tad rushed (due to the writers attempting to cram so much story and character development into the 3-hour frame) that certain side-plots and narrative build ups aren’t given their proper space to breath. One does wonder if this would have worked better as a mini-series, however on the other hand they probably would not have had the budget to make this thing look as good as it does. Secondly, certain details/plot-holes frustrated me which I won’t spoil, but one example is when Edmond and Abbé Faria are digging the escape hole from their prison chambers all those years, where the hell did they keep getting all those candles from to light their workspace?? I highly doubt in mid-1800s France prisons had little kiosk shops to offer inmates various groceries and household items. Happy to be corrected here, but honestly seeing those candles reminded me of Deadpool proclaiming “that’s just lazy writing”. And final complaint (before we can get back to raving about how awesome this movie is) is the ageing, or lack of it more. The tale of Monte-Cristo spans from 1815 and ends in 1844, yet the movie makes zero effort in making the actors look older the further down the timeline we go. The Count does look aged but that is due to the mask he wears, so when that’s off he looks like his younger 20-something self again. One of the main baddies Prosecutor de Villefort (played in true dick-fashion by Laurent Lafitte) looks exactly the same at the beginning of the movie and then right to the end. You’re telling me the make-up artists and hairstylists couldn’t give him a single grey hair or a wrinkle?

Again though, that was me with my critical thinking hat on. With that off, I want to reiterate how I truly enjoyed this new version of a classic tale that has been done so many times before, however this one may be one of my favourites. Truly engaging and epic in scale, with a ridiculously cool Pierre Niney in the titular role. He is… the French Batman!

Overall score: 8/10

[haveyouseenthismovie-poll]

[fyeahfrenchmovies]

“The Count of Monte Cristo,” one of four films on France’s shortlist for the country’s official submission to the Academy Awards, will open on Dec. 20 in U.S. theaters. Samuel Goldwyn Films plans to campaign the three-hour adventure drama in all categories including best picture, with the release to roll out nationwide after its bow. [...] “The Count of Monte Cristo” premiered at this year’s Cannes Film Festival, where it received a lengthy standing ovation and positive reviews. It will make its U.S. premiere at the Hamptons International Film Festival and then play events including the American French Film Festival in Los Angeles. Currently sitting at 100% on Rotten Tomatoes, “The Count of Monte Cristo” has sold more than 8 million tickets in France and grossed over $75 so far internationally, with most major markets still to come.

[cantsayidont]

There have been approximately one billion stage, film, and TV adaptations of THE COUNT OF MONTE CRISTO, and most of them (save for the 1998 French TV miniseries*) fail in exactly the same ways for most of the same reasons. The new 2024 iteration, by Matthieu Delaporte and Alexandre de la Patellière, is no different, and about the only thing it has going for it is that it isn't AS actively offensive as their ghastly THREE MUSKETEERS adaptation last year.

(* The 1998 French TV version fails instead because it stars Gérard Depardieu, who was and remains a massive creep.)

I love the book, although I haven't read it often because it's a project — well over a thousand pages, full of what appear to be tangents and aren't — but nearly all the adaptations try to boil it down to a simple-minded, contrived drama about wrongful imprisonment and lost love, discarding most of the novel's sprawling melodrama and changing its narrative center of gravity, and by the end I always wonder why they bothered.

MUSKETEERS benefits most when screenwriters keep their grubby little fingers off the plot beyond whatever condensation is needed to fit the running time. To make MONTE CRISTO work as even a 2½-hour movie, I think it might need a more dramatic restructuring of the story.

[pierrotdameron]

PHOTOCALL : LE COMTE DE MONTE-CRISTO – ALEXANDRE DE LA PATELLIERE, MATTHIEU DELAPORTE

[genevieveetguy]

The Three Musketeers - Part II: Milady (Les trois mousquetaires: Milady), Martin Bourboulon (2023)

[hauntingsoundtracks]

The Count of Monte Cristo, directed by Alexandre de la Patellière and Matthieu Delaporte

Dorul (chanson d'Haydée), original soundtrack by Jérôme Rebotier

[thomas-querqy]

Le Comte de Monte-Cristo écrit et réalisé par Matthieu Delaporte et Alexandre De La Patellière, avec Pierre Niney, Laurent Lafitte, Anaïs Demoustier, Vassili Schneider, Anamaria Bartolomei, Julien de Saint Jean 😍

M’a rappelé que la première fois que j’ai entendu parler du Comte de Monte Cristo, c’était à l’occasion d’un voyage à Marseille quand j’étais collégien chez les frères Maristes : la visite du château d’If m’avait impressionné. Durant le film, il m’est aussi revenu avoir navigué au large de l’île de Monte Cristo sur le petit voilier des Michelet lors d’une croisière passant par la Corse, l’île d’Elbe et la côte Toscane. Je devais avoir une petite vingtaine, il faudra que j’aille fouiller dans la poussière des sacs de photos pour voir si j’ai quelques traces. Il me semble que ce n’était pas la croisière d’où ma sœur Bérénice avait rapporté un méchant staphylocoque doré. Yvon Michelet est mort il y a 3 ans, sa femme l’a suivi un an après, leur "petit dernier" cette année.

Vassili Schneider

Thierry Jouno et Hervé Guibert, Ile d'Elbe 1984. (Photo Hans Georg Berger)

[watchingalotofmovies]

The Count of Monte-Cristo

The Count of Monte-Cristo    [trailer]

After escaping from an island prison where he spent 14 years for being wrongly accused of state treason, Edmond Dantès returns as the Count of Monte Cristo to exact revenge on the men who betrayed him.

After the recent two-part Three Musketeers film, another sweeping, opulent adaptation of a French classic written by Alexandre Dumas. An epic drama, something that rearely gets made these days.

That it's three hours long is a plus because it gives room to all the story strands so that they can come together at the end effectively.

[nice1cream]

I HAVE WATCHED TCOMC 2024 AND I HAVE THOUGHTS

Scenery - beautiful. Shots - amazing. Actors - O.M.G.

I loved them all. Pierre Niney could punch me in the face and I would apologize to him.

The music - I was in heaven. "Le trésor" is my favourite part of the score. I was floating on a croissant.

THEY 👏 INCLUDED 👏 ANDREA 👏

Like actually, most adaptations just don't care and I always liked him as a character both in the book and here.

Also an interesting choice was showing Haydée and Andrea as sort of Count's apprentices/ partners in crime? Like he was usually depicted as this lone wolf, but I feel like this adds to his selfishness, because he basically used them both for his revenge (plus I really liked the sequences when they were rehearsing for every social event they would go to).

I didn't know you could make Noirtier and Bertuccio into one character and also make it a woman? I have seen genderbent Luigi Vampa. I have seen Mondego and Danglars made into one character for simplicity. But that was new and unexpected. Doesn't mean I didn't like it, because I kinda did (very much, it gave Dantés's revenge additional depth, give it up for Angela).

One thing I didn't like was cutting out the Morrel subplot. They literally introduced Maximilian Morrel (as Morrel's grandson, istead of son) and then they did nothing with that. I guess it was just a reference/ nod to those who read the book. Also it makes the version with Gerard Depardieu the most accurate one I have seen so far.

But as a movie, I think this one was the best.

Also why is everyone so set on making Fernand come from a noble family in the first place? It's not the first adaptation to do that and idk what exactly was wrong about Mondego being a fisherman and then earning his title of de Morcerf after being in the military...

I. Lost. My. Marbles. When I saw Abbe Busoni for the first time. Same with Lord Wilmore (here apparently Lord Halifax). Like the characterisation was soooo good! Not to mention the acting...

I was generally in love with the masks and the way Dantés would change appearance.

Also the hint at Eugenie Danglars being lesbian without being excessively loud about it? Perfect.

I loved it all sm and I wish I could watch it every day, but unfortunatelly my access to it on a platform has expired (it was only for 48 hours). I need a DVD or smth

[bob-the-movie-man-film-reviews]

The Three Musketeers: Milady (12): A bodice-ripping Eva Green lights up this swashbuckler.

#onemannsmovies #filmreview of "The Three Musketeers: Milady". #Thethreemusketeersmilady. Swashbuckling, bodice-ripping action! 4/5.

A One Mann’s Movies review of “The Three Musketeers: Milady” (2023). Out now, “Milady” is the sequel to “The Three Musketeers: D’Artagnan” which came out in April. Both movies were filmed back-to-back over 150 days from August 2021 to June 2022 with an average budget of $39 million each. Will they make their money back? Well, the first film has to date only made $32 million back so far and, from…

[pier-carlo-universe]

Il Nome del Figlio – Le Prénom: Una Commedia Brillante per Festeggiare i 30 Anni di Agorà Teatro. Dal 26 ottobre all'8 novembre 2024, il Piccolo Teatro di Bari ospita la celebre commedia "Il Nome del Figlio – Le Prénom" per celebrare i 30 anni di Agorà – Teatro e Cultura

Il 2024 segna un traguardo speciale per Agorà – Teatro e Cultura, che festeggia i suoi 30 anni di attività con una delle commedie più amate dal suo pubblico: Il Nome del Figlio – Le Prénom. Questo capolavoro di Matthieu Delaporte e Alexandre De la Patelli

Il 2024 segna un traguardo speciale per Agorà – Teatro e Cultura, che festeggia i suoi 30 anni di attività con una delle commedie più amate dal suo pubblico: Il Nome del Figlio – Le Prénom. Questo capolavoro di Matthieu Delaporte e Alexandre De la Patellière, reso celebre anche dal cinema, sarà in scena al Piccolo Teatro di Bari il 26 ottobre, 27 ottobre e 8 novembre 2024. Una Commedia Brillante…

[fyeahfrenchmovies]

Le Comte de Monte Cristo (2024)

Dir. Matthieu Delaporte & Alexandre de La Patellière Directeur de la photographie : Nicolas Bolduc

[pierrotdameron]

A film by Matthieu Delaporte and Alexandre de La Patellière, with Pierre Niney, Bastien Bouillon, Anaïs Demoustier, Anamaria Vartolomei, Laurent Lafitte de la Comédie-Française

In French cinemas on June 28.