The film incorporates a lot of dramatic elements, but the problem with it is that it's so mellow that it doesn't feel right to eat. When I watched it, I thought it was pretty good in general, I didn't doze off or sneer, but when I walked out of the theater door, I forgot about it. It's not a good idea to have an action film director shoot a classic literary work like The Count of Monte Cristo, because it's obviously not a good fight scene.
The few film and television works I’ve watched so far cannot “faithfully” reproduce all the details of Alexandre Dumas. Even Japan’s nine-episode TV series (one disappears in each episode) cannot accommodate the vastness of the original work, although the film retains the original story framework. , but it is a pity that the original spirit of "waiting and hope" was not presented. Of course, for viewers who have not read the original work, the film seems quite complete, and the rhythm is lively, generally cutting off a lot of rich details and ups and downs of the original work. What's more, director Kevin Reynolds made the very important Morrel, so that this work only stays at the level of revenge, and reconciles Mercedes and Dantès (even more Bell became Dantès' son, inexplicably), which was nothing short of grandstanding. In fact, this "New Count of Monte Cristo" has no rich character connotations at all, such as the money-loving Caderousse couple, the evil Andrea, the lascivious Madame Donglass, the vicious and insidious Madame de Villefort, staunch and noble Noirtier, ardent and virtuous Morrel, upright and innocent Maximilian, ardent and sincere Valentine, weak and kind Mercedés, virtuous and innocent Albert . . .
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