3 Musketeers
There is not a lot of hooting going on in the cinema at this time but there is this film which actually hoots with good humour.
Even with some modern updates such as a character-reveal involving a member of the LGBT community and a present-style assassination this two part update of Dumas’s classic The Three Musketeers is pure entertainment. A movie that posits itself within a specific time, the setting of Netflix’s sitcom Call My Agent! sparks curiosity about who among the cast is possibly promoting which celebrity. It seems to split its two feature-length episodes in approximately the location where Richard Lester and screenwriter George Macdonald Fraser so split their Three and Four Musketeers in the Seventies.
Here is first part, and François Civil plays D’Artagnan, a provincial who arrives in the suburbs to the capital city in the 17th century, with dreams to join the King’s Musketeers elite forces. Our swordsman, who is comparatively younger only the old Freudian terminology will provide context in an awkward manner meets three seasoned musketeers Athos (Vincent Cassel), Porthos (Pio Marmaï) and Aramis (Romain Duris) by chance, paying in a clumsy way more than one of them an unintentional shove or insult.
A three to one fistfight is about to commence when their brutish comrades, King’s guard muscle, busted in headed by Cardinal Richelieu (Eric Ruf), and is* the case with all four of them in that it is so almost the only impulse unites these four hatred to these psychotic bullies.
D’Artagnan and his friends soon do not stand aside from Cardinal Richelieu’s (Annette Badland) schemes to get the Queens (Vicky Krieps) lover, Duke Buckingham (Jacob Fortune-Lloyd), to frame her for treason so that he has an excuse for attacking French Huguenots in support of the king (Louis Garrel). Also in this movie, plans are made to get Athos on a trumped-up murder charge, and a lot of it has to do with the cardinal’s beautiful assassin, Milady, played by Eva Green who even manages to look comical smoking a long stemmed pipe in quite a few scenes.
As with similar movies, there’s some great stunt work here; I remembered how weak I am as someone leaps onto a horse in a single motion and rides off. There’s also a bar scene, an already tiring cliché in this Martin Bourboulon directed film however, anticlimactically subverting the usual hetero-sexist banter to be found in such a scene. This, however, is an important point, although historians will be disappointed to see there are no barnyard animals in the fighting sequences either: idle ducks flapping around or chickens scurrying for cover from the battling swordsmen, and the like. A very well produced visual experience.
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