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"The Count of Monte Cristo" is a movie that incorporates piracy, Napoleon in exile, betrayal, solitary confinement, secret messages, escape tunnels, swashbuckling, comic relief, a treasure map, Parisian high society and sweet revenge, and brings it in at under two hours, with performances by good actors who are clearly having fun. This is the kind of adventure picture the studios churned out in the Golden Age--so traditional it almost feels new.

Jim Caviezel stars, as Edmund Dantes, a low-born adventurer betrayed by his friend Fernand Mondego ( Guy Pearce ). Condemned to solitary confinement on the remote prison island of Chateau d'If, he spends years slowly growing mad and growing his hair, until one day a remarkable thing happens. A stone in his cell floor moves and lifts, and Faria ( Richard Harris ) appears. Faria has even more hair than Dantes, but is much more cheerful because he has kept up his hope over the years by digging an escape tunnel. Alas, by digging in the wrong direction, he came up in Dantes' cell instead of outside the walls, but c'est la vie.

"There are 5,119 stones in my walls," Dantes tells Faria. "I have counted them." Faria can think of better ways to pass the time. Enlisting Dantes in a renewed tunneling effort, he also tutors him in the physical and mental arts; he's the Mr. Miyagi of swashbuckling. Together, the men study the philosophies of Adam Smith and Machiavelli, and the old man tutors the younger one in what looks uncannily like martial arts, including the ability to move with blinding speed.

This middle section of the movie lasts long enough to suggest it may also provide the end, but no: The third act takes place back in society, after Faria supplies Dantes with a treasure map, and the resulting treasure finances his masquerade as the fictitious Count of Monte Cristo.

Rich, enigmatic, mysterious, he fascinates the aristocracy and throws lavish parties, all as a snare for Mondego, while renewing his love for the beautiful Mercedes ( Dagmara Dominczyk ).

The story of course is based on the novel by Alexandre Dumas , unread by me, although I was a close student of the Classics Illustrated version. Director Kevin Reynolds redeems himself after " Waterworld " by moving the action along at a crisp pace; we can imagine Errol Flynn in this material, although Caviezel and Pearce bring more conviction to it, and Luis Guzman is droll as the count's loyal sidekick, doing what sounds vaguely like 18th century standup ("I swear on my dead relatives--and even the ones that are not feeling so good").

The various cliffs, fortresses, prisons, treasure isles and chateaus all look suitably atmospheric, the fight scenes are well choreographed, and the moment of Mondego's comeuppance is nicely milked for every ounce of sweet revenge. This is the kind of movie that used to be right at home at the Saturday matinee, and it still is.

Footnote (read no further if you plan to see the movie) : There is one logistical detail that mystifies me. After Faria is killed in a cave-in, Dantes arranges for his dead body to be found, then substitutes himself for the corpse, is carried out of the prison and finds his freedom. All very well. But why, given the realities involved and the need to make haste, does Dantes go to the trouble of moving Faria's corpse to Dantes' own cell--thus supplying a premature warning of the switch, and betraying the fact of the tunnel's existence? If he is recaptured, that tunnel might come in handy.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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The Count Of Monte Cristo (2002)

Rated PG-13 For Adventure Violence, Swordplay and Some Sexuality

118 minutes

Jim Caviezel as Edmund Dantes

Guy Pearce as Mondego

Richard Harris as Faria

Dagmara Dominczyk as Mercedes

Michael Wincott as Dorleac

Luis Guzman as Jacobo

Directed by

• Kevin Reynolds
• Jay Wolpert

Based On The Novel by

• Alexandre Dumas Sr

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The count of monte cristo, common sense media reviewers.

Enjoyable swashbuckler for kids who can handle the action.

A Lot or a Little?

What you will—and won't—find in this movie.

As Edmund Dantes seeks to exact revenge upon the t

The hero begins as a trusting, good-hearted innoce

Lots of sword fighting, other bloody battles (knif

Sexual activity is limited to kissing and embracin

Minimal swearing: "damn," "bastard,

Wine and alcohol are served at dinner and on other

Parents need to know that this classic story of revenge and romance is filled with swashbuckling, sometimes bloody, violence, ruthless characters, and grand heroics. The many action sequences include: sword fighting to the death; knife fights; shooting with muskets, handguns, and rifles; brutal whippings, a suicide by…

Positive Messages

As Edmund Dantes seeks to exact revenge upon the three men who have destroyed a great part of his life, he slowly regains his faith and finds redemption. He learns the value of gratefulness and true justice. At the same time, the audience will cheer when the villains get what's coming to them.

Positive Role Models

The hero begins as a trusting, good-hearted innocent, becomes vengeful and unforgiving, and finally, matures into a brave, inspiring, and wise man. He learns that perseverance, courage, and compassion triumph over anger and self-pity. In most instances, public officials and the aristocracy are portrayed as corrupt and selfish.

Violence & Scariness

Lots of sword fighting, other bloody battles (knife, fists, guns), narrow escapes, and violent death. Characters are killed by: gunshot at close range, drowning, impalement, suicide, a tunnel collapse, and a stabbing. Less fatal activities include kidnapping, lashing with a whip, being thrown from a cliff, an attempted hanging, and lots of gunfire.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Sexual activity is limited to kissing and embracing. The lovers are seen in each other's arms after implied sex, shoulders bare. The film's chief villain is known to be an unrepentant, serial philanderer. A baby is conceived out-of-wedlock.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Minimal swearing: "damn," "bastard," and "whore.”"

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Wine and alcohol are served at dinner and on other social occasions. The chief villain is a heavy drinker who gets drunk in a number of scenes.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that this classic story of revenge and romance is filled with swashbuckling, sometimes bloody, violence, ruthless characters, and grand heroics. The many action sequences include: sword fighting to the death; knife fights; shooting with muskets, handguns, and rifles; brutal whippings, a suicide by gunshot, an attempted hanging, kidnapping, and drowning. Several deaths take place on screen. There are a few curse words: "damn," "bastard," "whore." Two lovers kiss, embrace passionately, and are seen twice, partially clothed, lying in each other's arms after having implied sex. Reference is made to adultery and an out-of-wedlock birth. Several scenes show the consumption of alcohol at social events and in private; one leading character frequently drinks heavily and appears drunk. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Community Reviews

• Parents say (8)
• Kids say (15)

Based on 8 parent reviews

Great intro to the author Dumas

Awesome movie, what's the story.

In this adaptation of Alexandre Dumas' novel, James Caviezel plays Edmund Dantes, an honest sailor who has a devoted girlfriend named Mercedes (Dagmara Dominczyk) and a lifelong friend, Fernand. When he is promoted to captain and can afford to marry Mercedes, he thinks all of his dreams have come true. But Fernand, overcome with jealousy, betrays Edmund, and Villefort (James Frain), a corrupt magistrate, sentences him to life imprisonment. His friends and family are told that he has been executed. After years of brutal abuse, Edmund meets another prisoner (Richard Harris), who teaches him to read and swordfight. They plan an escape, but his friend dies, and Edmund escapes alone, with a map showing the location of a treasure on the island of Monte Cristo. He meets up with pirates and ultimately finds the treasure, enabling him to return in a new persona, the Count of Monte Cristo, where he will prove that "revenge is a dish that is best eaten cold."

Is It Any Good?

Two things that almost always capture our attention in movies are watching someone learning something and watching someone getting revenge; both are here in gratifying abundance. And once again, in this 15th filmed version of the Alexandre Dumas novel, this most resilient of stories has been made into another thoroughly enjoyable movie.

The script falters, with some clunky dialogue and a Hollywood-ized ending that Dumas fans will find overly convenient. But the performances (especially Pearce, descending from pettiness to decadence and complete corruption), the swordplay, the splendor, and the story, featuring what is probably literature's all-time best revenge fantasy are old-time-movie satisfying and lots of fun.

Talk to Your Kids About ...

Families can talk about the amount of violence in this movie. Did it include the right amount to be a proper swashbuckler, or did it go overboard? How do you feel after watching action-oriented violence?

Are you familiar with the book that inspired this movie? Do you know of any other stories that were inspired by it?

Movie Details

• In theaters : January 25, 2002
• On DVD or streaming : September 10, 2002
• Cast : Guy Pearce , James Caviezel , Luis Guzman
• Director : Kevin Reynolds
• Inclusion Information : Latino actors
• Studio : Walt Disney Pictures
• Genre : Drama
• Run time : 131 minutes
• MPAA rating : PG-13
• MPAA explanation : violence, peril, and sexual situation
• Last updated : May 10, 2024

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FILMS / REVIEWS France  / Belgium

Review: The Count of Monte Cristo

by  Fabien Lemercier

25/06/2024 - Pierre Niney imposes himself in the lead role of Alexandre Dumas’ great literary classic, spectacularly revisited by Matthieu Delaporte and Alexandre de la Patellière

"We’ll take as much time as we need to take revenge. We’ll rip their hearts out". Betrayal, injustice, many long years of imprisonment in deepest isolation, great mental and physical anguish, an array of fatal or liberatory secrets, escape and rebirth, masks and methodical preparations for a dreadful kind of revenge… Published in 1844, Alexandre Dumas ’ novel, The Count of Monte Cristo , has all the ingredients necessary for a poignant tragedy teeming with thrilling twists, and has already inspired numerous film adaptations.

But an excellent story will always be an excellent story, and the French screenwriting-directorial duo Matthieu Delaporte and Alexandre de la Patellière have likewise decided to embark upon this particular adventure, on the wings of Pathé ’s strategy aimed at bringing about a revival in France of great, spectacular, mainstream cinema rooted in the country’s literary and historical heritage (a movement initiated last year via Martin Bourboulon ’s diptych The Three Musketeers: D’Artagnan   [ + see also: film review trailer film profile ] – written by Delaporte and de la Patellière – and continued via the two-parter De Gaulle on which Antonin Baudry is currently wrapping filming). But it’s a far from easy task, in this particular instance, given the richness and complexity of the book’s original plot, which the present film, The Count of Monte Cristo   [ + see also: trailer film profile ] - unveiled out of competition in the 77th Cannes Film Festival and due for release in French cinemas on 28 June - conveys in a high-quality, classical, mainstream style, making for a largely brilliant 2-hour-and-58-minute movie.

The film owes much of its success to the quality of its actors ( Pierre Niney plays the titular role), not to mention some pretty bold changes when adapting the novel (new characters, previously non-existent ties forged between certain protagonists, different social backgrounds, etc.), which strengthen and modernise the dramaturgy without ever losing sight of its crux: a man who’s hastened to his grave ("you know things people don’t want to hear") by three circumstantial allies (the wonderful Bastien Bouillon , Patrick Mille and Laurent Lafitte ) and who returns in a different guise (or even multiple guises), almost 22 years later, in order to exact revenge.

The story begins in 1815 under the blue skies of Marseille, when life seems to be smiling upon Edmond Dantès (Niney), who’s on the verge of marrying Mercedes ( Anaïs Demoustier ). But his hidden enemies unfairly and unjustifiably throw into a dungeon without trial, in the Château d’If, where he languishes for 16 years before eventually escaping; because, after years of lonely despair, this young man binds his fate to a prisoner (and tunnel-digger) in a neighbouring cell, Reverand Faria ( Pierfrancesco Favino ), who provides him with weapons (namely a goal, knowledge, fabulous treasure to seek out, and a strategy to escape the sea-based fortress) so that he may rediscover freedom and exact cruel revenge on those who betrayed him.

By placing emphasis on the darkness which slowly takes hold of our hero, whose legitimate thirst for revenge sees him consumed by hate and a shrivelled heart, the directors make fascinating use of contrasts, providing Pierre Niney with an opportunity to showcase the many different sides of his talent, with which he’s never failed to surprise us throughout his career. He’s a diamond at the heart of this pleasing and luxurious super-production adventure, whose few faults (strange shortcuts, somewhat intrusive music, needlessly ostentatious shots via drone) fail to detract from the qualities of this film, which more than fulfils its mission to be a high-quality, mainstream movie.

The Count of Monte Cristo is produced by Chapter 2 in co-production with Pathé (who are managing international sales), M6 Films , Fargo Films , Logical Pictures Ventures and Belgian firm Umedia .

(Translated from French)

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• DVD & Streaming

The Count of Monte Cristo

• Action/Adventure , Drama

Content Caution

In Theaters

• James Caviezel as Edmond Dantes; Guy Pearce as Fernand Mondego; Richard Harris as Faria (aka Priest); Dagmara Dominczyk as Mercedes; James Frain as Villefort; Luis Guzmán as Yakup; Henry Cavill as Albert Mondego; Michael Wincott as Dorleac

Home Release Date

• Kevin Reynolds

Distributor

• Touchstone Pictures

Movie Review

Alexandre Dumas’ classic tale of romance, adventure and revenge in 1815 begins with boyhood friends Edmond Dantes (the humble, virtuous son of a clerk) and Fernand Mondego (the spoiled son of a nobleman, who is insanely jealous of Edmond) seeking medical care for the captain of their merchant ship. They risk life and limb by rowing to the isle of Elba, home of exiled French general Napoleon Bonaparte. During their brief stay, Napoleon asks the naïve Edmond to carry a letter back to France. He obliges. But after returning home, being promoted by his employer and reuniting with Mercedes, his true love, Edmond is betrayed by Mondego and several co-conspirators eager to benefit from framing him for high treason. Scurvy shipmate Danglars gets his post. Mondego will eventually get Edmond’s fiancée. And Villefort, chief magistrate and son of the vocal Bonapartist who was to receive the fated letter, preserves his political career.

Despite being an innocent pawn, Edmond finds himself sentenced to rot in the Chateau D’If, a dank, dark fortress that makes Alcatraz look like the Four Seasons. He faces his fate with a deep sense that God is with him, much as the Lord was with Joseph in Genesis 39. But after four years, Edmond begins to doubt any heavenly interest in his plight. That’s when Faria, a Chateau D’If veteran of eleven years, tunnels through Edmond’s floor in a failed escape attempt. He’s a man of God who refuses to let Edmond’s faith die—and educates him in various subjects—as the two spend years covertly chiseling toward the outer wall. Together, they unravel the frame-up that cost Edmond his freedom, causing the young man to burn with anger and a lust for revenge. When he is finally liberated from his cell, Edmond heads home. With newfound (unexpected) wealth and steely determination, he dons the moniker Count of Monte Cristo and manipulates events in an attempt to bring his enemies to justice.

positive elements: In the opening scene, Edmond defies protocol and puts himself in danger to save a man’s life (his compassion is rewarded). Friends come to one another’s aid during a fight. Distinctly spiritual elements favor a Christian worldview [see “Spiritual Content” for a development of this theme]. During his years of imprisonment, Edmond learns from Faria’s examples of faith, gratitude, patience, generosity and perseverance. Forced into a knife fight by a band of pirates, Edmond subdues and spares the life of his rival, who repays his mercy by becoming Edmond’s servant. When Faria gives Edmond a treasure map, he makes him promise that he will use it for good. Unlike most modern tales of vengeance (films like The Godfather, First Blood, The Crow or any number of horror flicks involving a scorned psycho with an axe to grind), this one finds Edmond seeking non-violent retribution in most cases. Envy, greed, jealousy and even vengeance itself are portrayed as unbecoming character traits that cannot satisfy the longings of the soul. We also see that wealth is empty without true love, family, friends and a noble vision for life. In fact, the person of Fernand Mondego is a study in what not to become. His scheming, womanizing, gambling and selfish disregard for his family’s emotional needs all help to define Mondego as evil personified. Edmond’s toast to Albert implies that trials build character, and reflects the truth of 1 Peter 1:6-7 (“What makes you a man is what you do when that storm comes”).

spiritual content: There are frequent, reverent mentions of the Lord. Throughout the film, we witness the evolving faith struggle of Edmond, who early-on acknowledges God and even clings to Him during his first months in prison, only to wrestle with doubt as years pass and his situation remains unchanged. On the wall of his cell, a previous tenant has carved the words GOD WILL GIVE ME JUSTICE, which is referenced several times (it stops a suicidal Edmond from hanging himself) and is, in fact, the final image shown before the end credits. Indeed, God does take care of Edmond despite the mocking tone of Dorleac, the sadistic atheist presiding over the prison. One way is by introducing him to Faria, the man he comes to know as Priest (he is a repentant soldier burdened by the memory of having carried out an order by Napoleon to burn a church full of people). Upon seeing the sky for the first time in 11 years, the old man thanks God. Faria shows kindness to Edmond and points the bitter young man back to the Lord. A wonderful exchange begins as Faria reminds a vengeful Edmond, “God said, ‘Vengeance is mine.’” Edmond says, “I don’t believe in God,” to which Faria replies, “It doesn’t matter. He believes in you.” Later, Mercedes also reminds Edmond of what his heart knows to be true about the omniscience and omnipresence of God. In the film’s closing moments, Edmond sees the emptiness of revenge and admits, “You were right, Priest,” adding, “This I promise you and God: All that was used for vengeance will be used for good.”

sexual content: Mondego playfully tells Mercedes, “Make love to me,” aware that her heart belongs to Edmond. She refuses, accusing him of collecting romantic trophies and claiming she will never be one. Silhouettes of a man and woman are seen swimming in the moonlight. There is an unfortunate premarital sexual encounter between Edmond and Mercedes, but it is handled discretely, shown to have consequences, and is exceedingly relevant to the plot. We learn that Mondego, unapologetically, has had numerous mistresses during his loveless marriage to Mercedes, who wed him on the rebound after hearing that Edmond had been executed. Following Edmond’s return, he and Mercedes are shown in bed together (while Mercedes’ heart never left Edmond, this is still an adulterous fling).

violent content: Quite a bit, though it’s not excessively graphic. British soldiers fire pistols at Edmond and Mondego. We see a flashback of a man being ambushed and shot twice at close range in an alleyway. Eager to watch two men fight to the death with knives, a band of smugglers pit Edmond against a member of their crew who has fallen out of favor. Dorleac takes great pleasure in administering a brutal anniversary lashing to each of the prisoners at Chateau d’If (Edmond’s back is badly lacerated). Mondego fires his pistol at Edmond, only to strike an unintended target. A tunnel cave-in leaves a man dead. Edmond kills Dorleac after the men are thrust over a tall cliff and into the sea. Vicious sword fights draw blood. On two occasions, men get run through with swords (Mondego duels with the husband of one of his mistresses, killing the man without a shred of remorse). We are informed that a forlorn character has hanged himself. Another attempts suicide by putting a pistol in his mouth, but nothing happens when he pulls the trigger.

crude or profane language: Expressions such as “bastard,” “hell,” “my God,” and “damned” appear, but none are used as profanity. Mondego calls his wife a whore.

drug and alcohol content: Mondego drinks constantly. We frequently see him with a bottle in his hand, and actually get introduced to him while he’s in a slightly tipsy state. Mondego and Edmond share a celebratory glass of wine. Mondego imbibes along with a scorned first-mate as they plot to remove the thorn in their flesh. Edmond toasts Albert at his birthday party.

conclusion: These days, action films rely far too heavily on gaudy special effects and dopey catch phrases, and far too little on intelligent scripts and interesting characters. Just ask director Kevin Reynolds. It’s a lesson he learned the hard way. His widely derided, extremely expensive 1995 dud Waterworld had lots of pyrotechnics and slam-bang activity, but it sank like a stone at the box-office because it lacked heart. Reynolds has more than redeemed himself with The Count of Monte Cristo , an adventure tale that succeeds because it ultimately isn’t about action. It’s about people. It’s about issues that transcend a high-speed chase or an explosion. It has heart. And that’s what makes the action matter. This, plus beautiful scenery, solid performances and Reynolds’ smart pacing make his romantic period thriller work as pure entertainment, as well as an above-average conversation starter for parents and mature teens.

Bob Smithouser

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The Count of Monte Cristo

Dove review.

Virtually free of coarse language, “The Count of Monte Cristo” maintains the major elements and themes of Dumas’ story. An interesting twist focuses on Edmund’s rejection of God after his imprisonment, but later references show his return to belief. Although the story seems to focus on revenge, the priest tells Edmund that vengeance belongs to God and a sentence carved into Edmund’s cell states that God will give justice. Fernand is often shown drinking and references are made to his later adulteries but neither is condoned. A few sword stabbings are unnecessarily graphic and some sexual references are slightly crude, but teens and older can enjoy this adventurous tale.

Dove Rating Details

Some sword stabbings that are somewhat graphic.

Reference to adultery, but it is not condoned; some sexual references.

Man shown drinking often, but it's not condoned.

More Information

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The Count of Monte Cristo

By: debbie lynn elias

Probably best remembered for his lavish disaster, “Waterworld”, director Kevin Reynolds admirably redeems himself with this lavish, seemingly spare-no-expense production of “The Count of Monte Cristo.” With exacting precision, staggering attention to detail, exquisite location selection and costuming, opulence, just the right touch of humor and all those fine elements of jealousy, betrayal, greed and vengeance, not to mention, swashbuckling, dueling, murder and sunken treasure, too, Reynolds breathes new life into the time honored Alexandre Dumas literary classic of the same name.

Somewhere deep in your mind, you may recall the tale of Edmond Dantes, a commoner with a kind heart working as a sailor, who is framed by several members of the aristocracy on the trumped up charge of treason for assisting the exiled Napoleon escape from the Isla of Elba. In a departure from the Dumas version, however, the primary conspirator, Fernand Mondego, is not merely a nobleman, but Edmond’s best friend since childhood. While seemingly historically impossible for nobles and commoners to mix and mingle in friendship, this minor deviation by screenwriter Jay Wolpert only enhances the story, adding increased depth and passion to the characters and the action itself.

As the saying goes, politics makes strange bedfellows, and even in Dumas’ day, this was no exception. Entangling the politically ambitious Villefort in his web of deceit and destruction so that he might have Edmond’s beautiful fiancé Mercedes for his own, Mondego’s efforts prove successful and Dantes is sent off to life in prison at Chateau D’If. Needless to say, the plot thickens when Villefort reports to Mercedes and Edmond’s father that Edmund is dead, pushing Mercedes into the arms of her other “friend”, Mondego.

Meanwhile, Edmond is in his own living hell at Chateau D’If. Run by the villainous Dorleac whose idea of fun is to beat the prisoners on the anniversary of their incarceration, Edmond is driven to the point of insanity with an insatiability for revenge against those that left him for dead. At the end of his rope after eight years of imprisonment, salvation comes in the form of Abbe Faria, a soldier turned priest who pops up through the rock flooring in Edmond’s cell. Unlike Edmond, Faria is a cheerful and wise old soul who has kept his mind, body, and hope for freedom alive by digging an escape tunnel. Unfortunately he was a bit directionally challenged and instead of digging out, dug up, running into Edmond. But everything happens for a reason and this bump in the road is no exception as Faria enlists Edmond in his escape efforts. In exchange for Edmond’s conversation and able bodied assistance, Faria tutors the illiterate Edmond in reading, writing, economics, history, politics, mathematics, physical and mental arts, and swashbuckling, giving him hope, life, mental fortitude and, oh yes, a map to buried treasure.

After another five years, Edmond eventually escapes (without a doubt still one of the most astonishing and adventuresome ever conceived) and meets up with pirates and in particular, Jacopo, who becomes his servant, and true friend, for life. After recovering the buried treasure off the Isla of Monte Cristo, Edmond reinvents himself as the Count, using his extraordinary wealth to re-enter the world, reclaim his life and exact revenge on those that stripped him of all that is human.

Certain to transform Jim Caveziel from just a good actor into top bill romantic leading man, his portrayal of Edmond is nothing short of breathtaking, convincingly transforming from the innocent illiterate into a swashbuckling, educated and worldly nobleman with the hardened resolve of the prison granite, all the while mesmerizing you with his quiet strength, elegance and mystery. Guy Pearce as Mondego brings a pompous, weasley wickedness to the role that surpasses anything one could have imagined when reading the novel. James Frain gives a nice turn as fellow conspirator Villafort while Richard Harris, currently riding high as Professor Dumbledore in”Harry Potter” is once again an absolute delight in his portrayal of Abbe Friar. The real surprise here is Luis Guzman as Jacopo. With a flair for dead pan delivery and a touch of overacting, Guzman provides light-hearted relief, and a little bit of conscience, at just the right moment. As he so aptly states to Edmond, “I have sworn to protect you. Even if it means protecting you from yourself.”

Filmed on location in Ireland and Malta with grottos, chateaus, fortresses, sweeping estates, seascapes and prisons, Reynolds and cinematographer Andrew Dunn do a remarkable job of giving the film an 18 th century realism. The prison sequences are especially powerful and gripping, almost letting you smell the stench in the air and feel the cold roughness of the stone floor on which Edmond sleeps. The one disappointment though – not enough swordplay. The raw emotion and choreography between Caveziel and Pearce (and their stunt doubles) in their one-on-one duels is so high energy and exciting that you find yourself wanting more. Far superior to the 1934 Robert Donat version, like the book itself, the 2002 version of”Monte Cristo” is certain to become a classic for the ages.

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The Count of Monte Cristo (2002), I wish we had more solid movies like this made often.

I love the book and think this adaption is decent, but to it's credit does a good job simplifying without bogging down on the pacing as a movie.

I just wish we had simple historical adventure, where you're taken to a period full of costumes and historical moments, betrayals, actors twirling their mustaches or playing up their character. You know the story, but you enjoy it unfolding without being indulgent or trying to add something unnecessary like CGI Zombies and monsters with impossible camera angles swooping in at a fast rate while something bright is happening in the background.

There's a simple beauty of watching two men fence in a field. I don't know if I'm feeling nostalgic or longing for something as simple as finding lost treasure or attending a gorgeous upscale party in disguise.

It's a solid, entertaining movie that I wouldn't mind putting on in the background once in a while.

Also Luis Guzman, he's like a cheat code in a movie. When he appears, the movie instantly gets better.

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The Count Of Monte Cristo

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The Count of Monte Cristo

Reviewed by: Douglas Downs STAFF WRITER

Lying in the Bible

justice of God

REVENGE— Love replaces hatred —former israeli soldier and an ex-PLO fighter prove peace is possible-but only with Jesus

prison in the Bible

SUICIDE—What does the Bible say? Answer

If a Christian commits suicide, will they go to Heaven? Answer

How to witness to atheists

How can we know there’s a God? Answer

What if the cosmos is all that there is? Answer

If God made everything, who made God? Answer

Is Jesus Christ God? Answer

treasure houses in the Bible

treasure cities

precious stones

“Prepare for adventure. Count on revenge.”

T welve times Hollywood has turned to this enduring story of conflict, betrayal, revenge, and romance by Alexandre Dumas. It is hard to mess up a well written story. The first time this drama was captured on film was in 1912. I personally enjoyed the 1974 version with Richard Chamberlain in the lead. In this version, Kevin Reynolds directs a masterful presentation for a new generation of viewers. Reynolds, whose films include the lively Kevin Costner films “Robin Hood: Prince of Thieves” and “Waterworld” is very comfortable with larger than life translations of compelling stories. The scenery of Malta and Ireland give this film a lush richness that is difficult to ignore.

Our story begins with our hero Edmund Dantes ( James Caviezel ) and his friend, Mondego ( Guy Pearce ) trying to save the captain of their ship. They seek refuge on an island where the emperor Napoleon is living in exile. Napoleon takes advantage of the goodness he sees in Edmund and asks him to deliver a letter. This seemingly innocent request catapults our hero from the rank of Captain into the shame of imprisonment . His greatest crime is that his best friend Mondego is in love with his fiancee, Mercedes (Dagmara Dominczyk). A jealous betrayal and a public official’s protection of his father lead Edmund into captivity in the famous Chateau D’If prison located on a barren island. Every year of his imprisonment he is beaten, and daily he traces over the inscription in his cell “God will give me justice.” Just when things seem to get worse, Abbe Faria ( Richard Harris ) pops in (literally).

This priest encourages Edmund, who is wavering in his faith , and the two contemplate escape. At one point of despair, Edmund exclaims “ I don’t believe in God! ” and the Abbe replies, “it doesn’t matter—He believes in you.”

Just as the two are nearing an opportunity to escape, Abbe is injured and gives his trusted friend a map to a large treasure. Edmund finds the treasure and uses the money to reinvent himself, plotting revenge against his betrayers. His anger almost begins to eclipse his capacity for mercy .

The “PG-13” rating should be observed. The film is sparse in the area of language (Kids-in-Mind reports “1 scatological term, 4 mild obscenities, several insults, 17 religious exclamations”), but it takes its full share of violence. There are two scenes where we witness someone being run through with a sword (blood included). There is also some premarital sex implied and infidelity excused. It is not a perfect film, but there are some lessons to be learned.

I liked this new version of “The Count of Monte Cristo” and would recommend it with the above reservations.

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FILM REVIEW

FILM REVIEW; And Swashes Buckled All Around

By A. O. Scott

• Jan. 25, 2002

The arrival in theaters of the latest film adaptation of Alexandre Dumas père's durable tale of treachery and vengeance is a puzzling, somewhat anachronistic event.

The natural home for such a project would seem to be on the small screen -- in the footsteps of the French mini-series starring Gérard Depardieu that turned up not long ago on Bravo and the 1975 television movie with Richard Chamberlain and Tony Curtis -- or in the crudely inked pages of a classic comic book. Movies, especially those that appeal to the early-adolescent sensibility that used to be nourished by Dumas and his ilk, tend to be driven more and more by special effects, canny product placements, bouncy soundtracks and allusive pop-cultural smirks. An old-fashioned saga of grand emotions and sweeping scenery, complete with the clatter of swords, the keening of orchestral strings and the glitter of buried treasure, risks looking, in a world dominated by computer-generated wizardry and boisterous kiddie-postmodernism, like a horse-drawn buggy on the Interstate.

Which may, in the end, be why ''The Count of Monte Cristo,'' directed by Kevin Reynolds, is so much fun. The reasonably faithful script by Jay Wolpert is only occasionally anachronistic. (Life in early-19th-century Marseilles was certainly dangerous, but would anyone at the time have described it as stressful?) The film's resolute indifference to fashion makes it, perhaps paradoxically, a refreshing piece of old-style entertainment, accompanied by a whooshing, trembling score by Edward Shearmur. In its forthright, sincere attempt to harness the narrative drive and emotional sweep of the Dumas novel, the film is close in spirit (though not in style) to the 1934 version, which featured Robert Donat in the title role. And just as Dumas's works have served to introduce generations of readers to the pleasures of literature, whetting appetites for swift narration and vivid characters that will eventually be satisfied by greater authors, so will this stolid, unpretentious, thoroughly competent film remind jaded viewers of the sumptuous delight the movies can offer.

The story is as simple in its basic motives as it is elaborate in incident. Edmond Dantès (Jim Caviezel) is an honest fellow of humble birth blessed with good looks, good fortune and the love of the beautiful Mercédès (Dagmara Dominczyk). Edmond's happiness infuriates his dissolute, aristocratic pal Fernand de Mondego (Guy Pearce), who engineers a series of betrayals -- involving the intricate politics of post-Napoleonic France -- that land poor Edmond in a hellish island dungeon, the notorious Château d'If. The high point of his life there is an annual flogging by the floridly sadistic warden (Michael Wincott), who seems to come out of ''Quills'' by way of ''The Rocky Horror Picture Show.'' But then one day, who should burst in through the floor of Edmond's cell but -- Gandalf!

Oops. I meant to say Albus Dumbledore, the other notable wizard recently conjured by magicians in the employ of AOL Time Warner. Looking as if he had just tunneled in from Hogwarts (and misplaced his conical wizard cap in the process), Richard Harris shows up in the role of the Abbé Faria, a soldier-priest who is the prototype of every wise movie tutor from Obi-Wan Kenobi to Pat Morita in ''The Karate Kid.'' The abbé schools Edmond in everything from philosophy to fighting, and eventually the poor wretch escapes, only to fall in with a gang of pirates, one of whom, Jacopo (Luis Guzman), becomes his loyal second -- Sancho to his Quixote, Hutch to his Starsky. It is a pity that the story never permits Mr. Harris and Mr. Guzman to share the screen, and a marvel that the picture can contain their divergent styles (to say nothing of their wildly different accents), but together they give ''The Count of Monte Cristo'' a spark of mischievous humor.

A movie of this type is only as good as its villains, and this one is blessed -- or do I mean cursed? -- by the exuberant hamming of Mr. Pearce. His Mondego is a classic Regency-era cad, fighting duels, swigging wine from squat bottles and relishing his own infinite capacity for evil. (He is assisted by Albie Woodington and James Frain as ancillary baddies of different social classes.) Mr. Pearce, handsome and quick, spoils his own looks with an expression that looks as if he had just eaten a bad oyster. As the movie goes on -- covering nearly two decades of Edmond's imprisonment, liberation and carefully plotted revenge -- Mr. Pearce's teeth change from gray to yellow to brown, as though he were rotting from within. (This is in notable contrast to Mr. Caviezel: while there were evidently no barbers at Château d'If, the dental care seems to have been excellent.)

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THE COUNT OF MONTE CRISTO

"god will give me justice".

What You Need To Know:

(CCC, Pa, Ro, L, VV, S, AA, D, M) Christian worldview portraying an early 19th century story of humiliation before exaltation & many references to the justice & presence of God marred by a revenge motif & some romantic elements with some relativistic & emotion-based decisions; 7 light obscenities & 1 borderline appeal to God as well as long discussion about the existence of God where one man scoffs at God; significant violence with several bloody sword fights, swords go through men twice, knife & gun fights, & cruel whippings; two short, veiled scenes implying fornication; underwater swimming scene where the man & woman seem to be nude, but hard to tell; alcohol abuse depicted; smoking depicted; and, miscellaneous immorality such as lying, stealing, rude insults, talk of sordid affairs, & parental neglect.

More Detail:

THE COUNT OF MONTE CRISTO opens in the year 1814 as a ship sends a lifeboat to Elba Island where the British are holding Napoleon under heavy guard. The young French sailor, Edmund Dantes (James Caviezel), and his childhood friend and sailing comrade, Fernand Mondego (Guy Pearce), are risking their lives by bringing their dying captain ashore for medical help. In a brief skirmish with the startled guards, Edmund proves, to the drunk but skilled Mondego’s amusement, that he is not a fighter, but the two of them happen to defeat a much larger British contingent. Edmund demonstrates his naivety shortly thereafter when he meets secretly with Napoleon and agrees to deliver an “innocent” letter for him (plot spoilers follow; skip ahead if you wish).

Unknown to Edmund, Mondego had seen the interchange from a distance and is furious that Edmund is keeping secrets from him. Mondego, who is of noble blood, has been insanely jealous of his illiterate commoner friend for many years, because Edmund always seems to get the better of him. In what Edmund assumed was friendly competition, the two had a long-standing game of giving a chess piece to the other when one had proven himself a victor in some arena. Now, Mondego’s jealousy burns hotly against his friend because of the secrecy, but mostly because the beautiful lady Mercedes loves Edmund, and not him.

Back home, Edmund’s bravery earns him the title of Captain, but still smarting, Mondego fails, for the first time, to pass along the much deserved chess piece. In fact, Mondego tries to wow Edmund’s beloved, Mercedes. Mercedes rejects Mondego, and Edmund and Mercedes run off to the beach and go swimming. After an implied tryst, they declare their undying love for each other. Edmund proposes, but says he has no ring, so Mercedes takes a small piece of twine and ties it onto her finger. She promises never to take it off and never to stop loving Edmund.

Drunk and angry, the jealous Mondego betrays Edmund by telling the town’s magistrate, Villefort, about Edmund’s letter from Napoleon. Villefort has Edmund arrested, and Edmund quickly and honestly tells the story. Though the letter is found to contain spy secrets, Edmund is pronounced innocent. Just as he’s leaving, however, Villefort asks one last question about whether Napoleon gave a contact name. Edmund says, “Yes. It was Clarion.” Quietly seething, Villefort offers to have Edmund escorted home in his personal carriage, but instead, Edmund is whisked away to a barren prison island called D’If.

There, Edmund is beaten by a sadistic warden and placed in solitary confinement. The warden promises to beat him mercilessly on every anniversary of his arrvial. Though shaken, Edmund is hopeful that his imprisonment will be short-lived. On the wall of his stone prison is the inscription, “God will give me justice.” Edmund carves over it each day until it is deeply inscribed, yet year after year, he receives only his anniversary beatings. As he cries out to God, the warden taunts him saying, “You ask God for help, and I’ll stop the moment he shows up.”

One year, much to Edmund’s shock, up from the stones in his cell floor comes an old man, Faria (Richard Harris), a priest who has been trying to dig his way to freedom for years. The two become friends, and the priest asks about the now-fading inscription about God. Edmund replies, “The inscription has faded, just as God has faded.” The priest asks, “What has replaced Him?” “Revenge,” seethes Edmund.

The priest begins to educate Edmund in Economics, History, Mathematics, the art of being a gentleman, and sword fighting. He cautions his protégée, however, to use what he knows for good, for life. Faria tells Edmund of a vast treasure, in case he should ever escape.

Well, escape Edmund does, and he soon acquires a loyal servant, a young pirate whose life he had saved. The two travel back to Edmund’s hometown, rent a boat and find Faria’s treasure, which proves to be far grander than either had imagined.

At this point, Edmund starts his revenge. He finds out that his old “friend” Mondego had married his true love, Mercedes, and the two are now a Count and Countess with a son living in Paris. He finds out that Villefort betrayed him because his father was Clarion, and his old First Mate had conspired with Mondego out of jealousy and greed. He finds that the news of his imprisonment had killed his father, and he vows to kill all involved, forcing them to suffer as he has had to suffer.

Therefore, he purchases a fantastic mansion in Paris and announces himself at a glorious party as “The Count of Monte Cristo.” Now a dashing, educated gentleman disguised by a beard, a costume, and a whole new posture, Edmund is free to carry out his plan of revenge on all who betrayed him.

All seems to go as planned until some truths emerge that threaten to soften his heartstrings and weaken the plan. Edmund must now decide whom to believe, whom to trust, and which of two moral paths he will ultimately choose.

From his conversations with the priest in prison, it appears that Edmund had a call on his life to do good and to express love and mercy. Furthermore, God revealed to Edmund that, “God will give me justice,” which had to be tried in the crucible of a horrendous prison to be made real. Just as King David expressed in Psalms 119:71, “It was good for me to be afflicted so that I might learn your decrees,” so was it necessary for Edmund to be trained in the valley of affliction. It appears as if God used both his enemies and Faria the priest to tutor Edmund. The Lord says in the Song of Solomon that He “woos us into the desert, that He might speak tenderly to us and teach us His ways.” Faria, in particular, taught Edmund what he needed to know in order to take hold of the ultimate treasure and have the tools to carry out God’s purposes.

Though Edmund was set on revenge, it seems as if God sent a faithful friend to keep Edmund’s head and heart level in the battle. At a weak moment when Edmund was about to lose someone who loved him, his servant/friend tells him, “I will protect you, even if it means protecting you from yourself.” God gave him a true love, which said to him, “God believes in you… You cannot escape Him. He is in everything, even my kiss…”

Somewhat mitigating his passion for revenge, Edmund devises a clever plan of bringing his foes to a place of truth where they would end up hanging themselves. Edmund then also blesses a young boy with a true paternal blessing, drawing the lad into manhood and symbolizing a hope and a future to Edmund. Furthermore, he is able to protect Mercedes and draw those he loves into a place of true position and true freedom.

In a way, God uses Edmund to overcome his jealous and unrepentant friend. The Bible says that jealousy is more cruel than hatred, and Mondego proves his murderous, hate-filled spirit time and time again. Mondego also walks in elitism and prejudice, continually cutting Edmund down. It is interesting to note, also, that Mondego and Villefort had terrible relationships with their fathers, though the movie implies that this was more of their fault for rebelling against their fathers than their fathers’ cruelty.

The remake of THE COUNT OF MONTE CRISTO presents a Christian worldview somewhat confused by a heightened emphasis on vengeance. On one hand God is established as the ultimate ground of being, yet the revenge element, though dramatically effective, if pushed to its logical conclusion, would deny God’s sovereign power and His forgiveness and mercy. Thus, THE COUNT OF MONTE CRISTO tells the classic story of a fall leading to redemption, but, regrettably, the fall is emphasized more than the redemption and the movie contains some intense violence, implied scenes of fornication and suggested adultery. It should be pointed out, however, that sex outside of marriage was rampant in 19th Century France as the French Revolution introduced a totally new social ethic and the influence of the church as a morally governing body was greatly diminished. Infidelity in marriage was commonplace and in many social circles even accepted.

Kevin Reynolds directs with a keen sense of character and action. This is some of his best work.

James Caviezel and Richard Harris are superb as Edmund and Faria. James Caviezel displays an incredible range going from the naïve Edmund to the cool Count. Richard Harris is delightful as the priest, giving one of his best performances. Regrettably, Guy Pearce is too one dimensional, and Dagmara Dominczyk needs more experience.

Writer Jay Wolpert is to be commended for finding a powerful, dramatic storyline in a complex classic book, though some will criticize the many places where the movie veers from the book. Clearly, Jay Wolpert took seriously his mandate to transform the book into an exciting movie, but in doing so, he has confused a few of nuances which make the book a classic, and he forces an ending that wraps too quickly and conveniently. In the book, Mondego is simply in love with Mercedes and tries to court her when Edmund is away at sea. Edmund and Mondego were not childhood friends. They never served on a ship together. And, they were not together on the Isle of Elba. Also, in the book, Edmund is never beaten and is in total confusion regarding his imprisonment for at least 6 years; total solitary.

The good news is that in the end, through the fallenness of Edmund, God does bring justice, and even Edmund comes to realize that he is called to do good and exact mercy, not revenge. THE COUNT OF MONTE CRISTO could engage film and theology students in hours of worthwhile discussions. The filmmakers are to be commended for clearly presenting a powerful tale, with a strong Christian perspective.

Review: The Count of Monte Cristo by Alexandre Dumas

Said to be inspired by the true-life story of Francois Picaud , who was a 19 th century shoemaker from Nimes accused of becoming a spy for the English and imprisoned in Fenestrelle fortress , The Count of Monte Cristo is a classic novel that is still well-loved today.

The Story of The Count of Monte Cristo

Set in Marseille, the story begins in February of 1815, when a ship, the Pharaon, comes into dock, lead by Edmond Dantes, first mate after they lost their captain at sea.

It becomes obviously from the start that Edmond is a popular young man with the majority of the crew. However, he is not so well-liked by others.

Firstly, it is believed that he will be named the next captain of the Pharaon, causing the jealousy of one man, Danglars, to be forced to the surface. He believed that Dantes was too young and far too stupid to lead the men and therefore would consider doing anything to thwart that plan. There is then a second man, his father’s neighbour Caderousse, who appears to openly covet Edmond’s current fortunes, which in the grand scheme of things, is hardly nothing at all. Thirdly and finally, the reader is introduced to a young Catalan man, Fernand, whose heart is being ripped apart because of Edmond’s return, for he himself had hoped to win the love and hand of Edmond’s girl, Mercedes.

Within hours of Edmond’s return to shore, the three men are seen sipping wine together, conspiring against Edmond.

But what are they planning? Death, it seems would be too drastic, but I get the sense that something just as tragic is about to happen.

“Absence separates as effectively as death; so just suppose there were the walls of a

prison between Edmond and Mercedes: that would separate them no

more nor less than a tombstone.” (Page 35)

Within moments together, Danglers has supposedly come up with a suggested plan knowing that Fernand would do absolutely anything to win Mercedes, even if she doesn’t really love him.

Jealousy does silly things to people and before we know it Dantes is being arrested at his engagement dinner and imprisoned for the crime of being a Bonapartist and for treason. Dantes has no idea what is going on, although he does know that he is not guilty and therefore convinces himself that everything will resolve itself and he will soon be back with his loved ones.

“The Château d’If is a state prison, meant only for major political

criminals. I haven’t committed any crime.” (Page 77)

As if going to prison for a crime he has not committed was not unjust enough, shortly after arriving Dantes is sent to the dungeons where he remains without exercise, reading materials or any social interaction, simply because he asked to speak to the Governor in order to try and clear up what he quite rightly thought, was a grave mistake.

Unbeknown to Dantes at the time, he was betrayed for a second time by the local magistrate, Villefort. While he believed that Villefort was going to help prove his innocence he was, in actual fact, doing the exact opposite. If Villefort declared that Dantes was not guilty of treason he would have been jeopardising those closest to him.

It is a decision that will ultimately destroy him later.

After years of being subjected to the confines of his cell, Dantes believes that the only way out is to slowly kill himself. Hanging isn’t an option, so he makes the drastic decision to starve himself. An act he would have succeeded in achieving had he not heard the scratching coming from next door.

He took this noise to be a sign from God. Finally, God had listened to his pleading and was providing a solution. For so long, he had been alone with only his personal, dark thoughts for company but now, there was someone else he could talk to.

Unfortunately, this solution appeared in the form of the madman, Abbe Faria, a man the prison long ago deemed beyond help and completely insane.

That madman however, went on to teach Dantes all he knew: languages, mathematics, and history. He also taught him how to remain mentally and physically prepared for anything. Most importantly though, he shared with Dantes the information of his unclaimed wealth; a wealth that many believed did not exist.

Sadly, after years together trying to break free, only one will succeed.

Thanks to Abbe Faria, Dantes time inside Chateau d’if were not spent in vain and he emerges a completely different person. He is no longer naïve to the world around him and is destined to achieve retribution on a grand scale.

“You look to me like a man who has been persecuted by society

and has a terrible account to settle with it.” (Page 317)

Will Dante successfully inflict pain and suffering on those that imprisoned him? Will he win the love of his life back?

This is a story of calculated planning and patience, and only time will tell if Dante has the ability to succeed.

My Thoughts on The Count of Monte Cristo

The Count of Monte Cristo may have been written in the 1800s, and yes the language does take time to get used to, but once you understand the sentence structure and use of formal language it is a story that jumps from the pages.

It is a story of vengeance and forgiveness that unfolds slowly. The reader gets to fully understand just how powerless Dantes feels with his situation and how helpless he is. It is difficult not to feel for the character and the treatment he has received for simply being what, I perceive at least, to be a pleasant, non-offensive, person. For this reason, I also saw it as a romantic love story of sorts. During the time of his incarceration the only thing keeping him alive is the thought of one day being reunited with the love of his life, Mercedes. It is his love for her that drives him forward, demonstrating the power that true love can have on the human psyche. His will to return to the arms of a loved one kept him going during those long years in solitude, without that hope he probably would have lost his fight for life.

It is however, also a story reflecting that revenge does not always satisfy. We often feel that when we are wronged we need to retaliate and then we will feel better but that is often not the case and The Count of Monte Cristo definitely highlights that. Dantes does in fact exact his revenge but is he any happier afterwards?

Finally, I suspect that the story also reflects the despair Dumas could have feeling at the time of writing. Perhaps, he was not simply noting down a story but also in an indirect way, was highlighting what was going on around him. The financial, political and judicial systems in France, during this time, were all corrupt and therefore The Count of Monte Cristo could also be demonstrating just how unsettled the country was.

Without worrying about the hidden meaning of the novel however this is a fantastic classic that more people should read. I know it is daunting to pick up a book with over 1200 pages, but I promise you this one is definitely worth it. The story is descriptive, no lagging, the dialogue is colourful and insightful and the main characters are all so well thought out and developed that you can visualise each and every one of them.

As a classic it encompasses many different genres – crime , historical fiction, fantastical melodrama and gothic romance, and therefore appeals to the masses. If you have yet to read any of Dumas’ work , and I know The Three Musketeers is his most popular novel, I strongly recommend you pick The Count of Monte Cristo up first.

Have you read The Count of Monte Cristo? Did you enjoy it? Which novels would you recommend to those that enjoy Dumas’ novels?

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The main content creator at Travelling Book Junkie who loves all things book related. If lost, she can always be found in the nearest bookshop or library and is known for following in the footsteps of famous writers whether that be to a local cafe or to the top of a mountain. She loves to explore countries through the pages of a book before visiting anywhere to further understand their culture and traditions.

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The Count of Monte Cristo Reviews

The picture would have been stronger if both the story and the whole company had been better: as it is, I cannot think of faults without remembering that while the thing was going forward I was sitting up in my seat hoping for him to soak them plenty.

Full Review | Jan 23, 2024

Unfortunately, many of the finer degrees of avengement aren't translated to the screen with the finesse or components necessary to create cinematic splendor.

Full Review | Original Score: 7/10 | Jul 26, 2020

The Dumas story very much as Dumas wrote it: which leaves nothing to complain about.

Full Review | Aug 1, 2019

This is a picture for those whom like their full money's worth of solid entertainment.

Full Review | Oct 4, 2018

... slow and static and creaky, stopping dead for monologues and exposition to explain what the film can't afford to show.

Full Review | Feb 19, 2012

Full Review | Original Score: 3/5 | Jun 29, 2005

Full Review | Original Score: 4/5 | Aug 22, 2003

Full Review | Original Score: 4/5 | Aug 1, 2003

Mediterrane Film Festival Opens Second Edition With ‘The Count of Monte Cristo’ and a Focus on Uniting Mediterranean Nations

By Rafa Sales Ross

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The Mediterrane Film Festival kickstarted its second edition with the international premiere of Alexandre de La Patellière and Matthieu Delaporte’s “ The Count of Monte Cristo .” 

The film, shown at the heart of Malta’s capital of Valletta on Saturday night, was followed by a reception at the historic Mdina Ditch Gardens, in which Malta Film Commissioner Johann Grech highlighted the importance of the festival as an event to “unite the nations of the Mediterranean through film.”

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Grech said the sophomore edition was a “no-brainer,” with the Mediterrane Film Festival returning to Valletta “bolder than before and invested to bring more jobs to Malta and build a world-class industry” on the island country. “We should all take pride in the scale of our ambition. Yes, we may be small but we are a big nation rich in history. The Mediterrane Film Festival is all about shouting Malta’s success from the rooftops and showing the world how much [we have] to offer,” concluded the commissioner. 

“The Count of Monte Cristo” was shot on key locations across Malta, including Birgu Waterfront and Marsa Wharf. The opening night screening was attended by several of the film’s local crew, including producers Pierre Ellul and Anika Psaila Savona. The festival’s Artistic Director Teresa Cavina said the film “showcases the unparalleled beauty and history of Malta” and that the team was “delighted to celebrate so many of the makers behind this project at our screening.” 

The Mediterrane Film Festival runs until June 30 and features over 45 films from 35 countries including Cannes breakouts in Yorgos Lanthimos’ “Kinds of Kindness” and Coralie Fargeat’s “The Substance” plus other international festival highlights in Meryam Joobeur’s “Who Do I Belong To” and Jane Schoenbrun’s “I Saw the TV Glow.”  

Additionally, the festival will feature a series of panels and masterclasses discussing issues such as globalization in the entertainment industry, film circulation and co-production emerging storytelling trends, immersive technologies, and the animation landscape and career-specific discussions hosted by acclaimed experts in their respective fields and crafts. 

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