Film Review – THE FOUR MUSKETEERS (THE REVENGE OF MILADY) (1974)

Image result for the four musketeers swordfightTHE FOUR MUSKETEERS (THE REVENGE OF MILADY) (Spain/Panama/USA/UK, 1974) ****½
     Distributor: Twentieth Century Fox (USA), Fox-Rank (UK); Production Company: Alexander, Michael and Ilya Salkind Productions / Film Trust S.A. / Este Films; Release Date: 26 February 1975 (USA), 25 March 1975 (UK); Filming Dates: May-September 1973; Running Time: 108m; Colour: Technicolor; Sound Mix: Mono; Film Format: 35 mm (Eastman 100T 5254); Film Process: Spherical; Aspect Ratio: 1.85:1; BBFC Cert: PG.
     Director: Richard Lester; Writer: George MacDonald Fraser (based on the novel “The Three Musketeers” by Alexandre Dumas); Executive Producer: Ilya Salkind, Alexander Salkind (uncredited); Producer:  Ilya Salkind, Michael Salkind (both uncredited); Associate Producer: Wolfdieter von Stein; Director of Photography: David Watkin; Music Composer: Lalo Schifrin; Film Editor: John Victor-Smith; Production Designer: Brian Eatwell; Art Director: Leslie Dilley, Fernando González; Costumes: Yvonne Blake; Make-up: José Antonio Sánchez, Cristóbal Criado, Charlene Roberson; Sound: Don Challis, Don Sharpe; Special Effects: Pablo Pérez; Visual Effects: Doug Ferris (uncredited).
     Cast: Oliver Reed (Athos), Raquel Welch (Constance de Bonancieux), Richard Chamberlain (Aramis), Michael York (D’Artagnan), Frank Finlay (Porthos), Christopher Lee (Rochefort), Geraldine Chaplin (Queen Anne of Austria), Jean-Pierre Cassel (Louis XIII), Roy Kinnear (Planchet), Michael Gothard (Felton), Nicole Calfan (Maid Kitty), Ángel del Pozo (Jussac), Eduardo Fajardo (Captain), Simon Ward (Duke of Buckingham), Faye Dunaway (Milady), Charlton Heston (Cardinal Richelieu), Sybil Danning (Eugenie), Gitty Djamal (Beatrice), Jack Watson (Busigny), Bob Todd (Firing Squad Officer), Tom Buchanan (Firing Squad Sergeant), Leon Greene (Swiss Officer), Lucy Tiller (Mother Superior), Norman Chappell (Submarine Inventor), Richard Adams (Tortured Thug), Tyrone Cassidy (English Officer).
     Synopsis: D’Artagnan has become a Musketeer. Protestants hold La Rochelle, and the Queen loves Buckingham, who’ll soon send ships to support the rebels. Richelieu enlists Rochefort to kidnap Constance, the Queen’s go-between and D’Artagnan’s love. The Cardinal uses the wily, amoral Milady de Winter to distract D’Artagnan. But soon, she is D’Artagnan’s sworn enemy, and she has an unfortunate history with Athos as well.
     Comment: Shot at the same time as THE THREE MUSKETEERS (THE QUEEN’S DIAMONDS) – originally it was intended to be one long film with an intermission – this segment covers the second half of Dumas’ novel. As such the tone is slightly darker although the spirit of the first half still permeates via some swashbuckling set pieces, battle scenes and nifty pieces of comedy. The stakes have been raised as Dunaway’s Milady seeks revenge on York’s D’Artagnan and Welch’s Constance after they foiled her attempts to discredit Chaplin’s Queen Anne. Once again the sumptuous production and costume design are wonderfully captured by Watkin’s radiant cinematography and enhanced by Schifrin’s boisterous score. Reed and Dunaway come to the fore and their scenes together add significant depth to the drama. The finale as the Musketeers fight Lee’s Rochefort and the Cardinal’s guards contains some of the best sword fighting in screen history.
     Notes: Followed by THE RETURN OF THE MUSKETEERS (1989).

TV Review – THE WAR OF THE WORLDS (2019)

Image result for the war of the worlds bbcTHE WAR OF THE WORLDS (UK, 2019) **½
      Distributor: ITV Studios Global Entertainment; Production Company: Mammoth Screen / British Broadcasting Corporation (BBC) / Creasun Media American; Release Date: 17, 24 November & 1 December 2019; Running Time: 3 x 60m; Colour: Colour; Sound Mix: Stereo; Film Format: HD; Aspect Ratio: 2.00:1; BBFC Cert: 15.
      Director: Craig Viveiros; Writer: Peter Harness (based on the novel by H.G. Wells; Producer: Betsan Morris Evans; Executive Producer:Jamie Brown, Peter Harness, Minglu Ma, Preethi Mavahalli, Damien Timmer, Craig Viveiros; Director of Photography: James Friend; Music Composer: Russ Davies; Film Editor: Adam Bosman, Josh Mallalieu; Production Designer: Pat Campbell; Casting: Karen Lindsay-Stewart; Costumes: Howard Burden; Make-up: Amy Stewart; Sound: Jonathan Seale; Special Effects Supervisor: Chris Reynolds; Visual Effects Supervisor: Stephen Coren, Sally Goldberg, Ivor Middleton.
      Cast: Eleanor Tomlinson (Amy), Robert Carlyle (Ogilvy), Rafe Spall (George), Jonathan Aris (Priest), Rupert Graves (Frederick), Woody Norman (George Junior), Nicholas Le Prevost (Chamberlain), Susan Wooldridge (Mrs. Elphinstone), Taliyah Blair (Lillian), Reid Anderson (Stall Holder), Philip Gascoyne (Navy Officer), Charles De’Ath (Greaves), Joey Batey (Henderson), Sam Benjamin (Salesman), Freya Allan (Mary), Christopher Hatherall (Naval Lieutenant), Daniel Cerqueira (Stent), Aisling Jarrett-Gavin (Lucy), Bradley Cottrell (Newspaper Boy), Harry Melling (Artilleryman), Kieron Bimpson (Captain), Cokey Falkow (Army Officer), Milo Twomey (Sergeant Major), Michele Donockley (Red Planet Survivor).
      Synopsis: Set in Edwardian England, this new adaptation of H.G. Wells’ seminal tale – the first alien invasion story in literature – follows George (Spall) and his partner Amy (Tomlinson) as they attempt to defy society and start a life together. The War of the Worlds tells their story as they face the escalating terror of an alien invasion, fighting for their lives against an enemy beyond their comprehension.
      Comment: This adaptation of H.G.Wells’ classic novel plays loose with its source material and clumsily attempts to invent its own allegorical agenda with references to British colonialism. Rather than follow the novel’s linear narrative we jump between scenes set during the invasion and three years after into a post-apocalyptic landscape. The latter scenes only serve to slow the narrative and remove any fluidity and excitement that the invasion generates. Split across three hour-long episodes, the story feels overly stretched despite the occasional excitements and moments of tension. Tomlinson is good as the heroine who is conflicted between her bravery and responsibility to her unborn child. Spall is also okay as an everyman out of his depth. Carlyle, however, is wasted in a role that largely consigns him to the periphery of the action. What lets the production down is the writing, which is often stilted and provides a totally unsatisfying conclusion which clumsily attempts to be symbolic. Viveiros struggles to lift the material and settles for long moments of slow-motion action and introspection, which further dilute some of the set pieces. Technical attributes, however, are pretty good for the limited TV budget.

Film Review – THE THREE MUSKETEERS (1973)

Related imageTHE THREE MUSKETEERS (THE QUEEN’S DIAMONDS) (Spain/USA/Panama/UK, 1973) ****½
     Distributor: Warner Bros. Pictures; Production Company: Alexander, Michael and Ilya Salkind Productions  / Film Trust S.A. / Este Films; Release Date: 25 March 1974 (UK), 28 March 1974 (USA); Filming Dates: May-September 1973; Running Time: 105m; Colour: Technicolor; Sound Mix: Mono; Film Format: 35mm (Eastman 100T 5254); Film Process: Panavision, Spherical; Aspect Ratio: 1.85:1; BBFC Cert: U – Contains mild violence and innuendo.
     Director: Richard Lester; Writer: George MacDonald Fraser (based on the novel by Alexandre Dumas); Executive Producer: Ilya Salkind, Alexander Salkind (uncredited), Michael Salkind (uncredited), Pierre Spengler; Producer: Ilya Salkind; Associate Producer: Wolfdieter von Stein; Director of Photography: David Watkin; Music Composer: Michel Legrand; Music Supervisor: ; Film Editor: John Victor-Smith; Casting Director: Miriam Brickman (uncredited); Production Designer: Brian Eatwell; Art Director: Leslie Dilley, Fernando González; Costumes: Yvonne Blake; Make-up: José Antonio Sánchez, Cristóbal Criado, Charlene Roberson; Sound: Don Challis, Don Sharpe; Special Effects: Pablo Pérez; Visual Effects: .
     Cast: Oliver Reed (Athos), Raquel Welch (Constance de Bonacieux), Richard Chamberlain (Aramis), Michael York (D’Artagnan), Frank Finlay (Porthos / O’Reilly), Christopher Lee (Rochefort), Geraldine Chaplin (Queen Anna), Jean-Pierre Cassel (King Louis XIII), Spike Milligan (M. Bonacieux), Roy Kinnear (Planchet), Georges Wilson (Treville), Simon Ward (Duke of Buckingham), Faye Dunaway (Milady), Charlton Heston (Cardinal Richelieu), Joss Ackland (D’Artagnan’s Father), Nicole Calfan (Kitty), Michael Gothard (Felton), Sybil Danning (Eugenie), Gitty Djamal (Beatrice), Ángel del Pozo (Jussac), Rodney Bewes (Spy), Ben Aris (1st Musketeer), William Hobbs (Assassin), Gretchen Franklin (D’Artagnan’s Mother), Francis De Wolff (Sea Captain).
     Synopsis: The young D’Artagnan (York) arrives in Paris with dreams of becoming a King’s Musketeer. He meets and quarrels with three men, Athos (Reed), Porthos (Finlay), and Aramis (Chamberlain), each of whom challenges him to a duel. D’Artagnan finds out they are Musketeers and is invited to join them in their efforts to oppose Cardinal Richelieu (Heston), who wishes to increase his already considerable power over King Louis XIII (Cassel). D’Artagnan must also juggle affairs with the charming Constance Bonacieux (Welch) and the passionate Lady De Winter (Dunaway), a secret agent for the Cardinal.
     Comment: A joie-de-vivre permeates every frame of Lester’s definitive adaptation of Alexandre Dumas’ classic adventure novel. This represents the first half of the story with the second following a year later. The result is a supremely entertaining swashbuckler filled with great sword fights, delicious humour, authentic production design and costumes. The whole cast enter into the spirit of the production with note-perfect performances, whilst Lester’s spirited direction and Watkin’s sumptuous cinematography make for a visual delight. York, Reed, Chamberlain and Finally are well cast as the Musketeers whilst Welch demonstrates a gift for comedy as York’s love interest. Heston is obviously enjoying himself as the scheming Cardinal Richelieu and Dunaway shows promise of what she would go on to deliver in the follow-up.
     Notes: Lester shot the film in conjunction with its sequel, THE FOUR MUSKETEERS (1974). Originally intended as a single film, the split prompted a lawsuit from the cast demanding payment for both films.