This adaptation of the Three Musketeers is one of the absolute best renditions of the Three Musketeer story ever. But what I rarely see is a review about the fencing and swashbuckling sequences in the film. Michael York, for one was trained in fencing techniques, and was quite fit during the time that he filmed this adaptation - not at all unlike some of the martial arts actors in the movie industry today. It is time for young actors to make a comeback in the same swashing and noble spirit displayed by the members of this cast - and Pirates of The Caribbean is proof enough of the market's current interest in this adventurous sort of filming.
What is so effective about this version of The Three Musketeers' fight scenes is the realism of actual dueling. Surrounding this effective center, is the picturesque portrayal of renaissance France coupled with gripping musical sequences throughout which the combat is portrayed. The fight sequence during opening credits of the film are is in itself a testament to this fact, and a foreshadowing of the sequences to come. It is, in fact, during this very sequence that D'Artagnan (York) learns from his father his family's secret move - only to be used in the most dire of circumstances.
Although I have seen the first fight scene with the D'Artagnan and his yet to be comrades against the cardinal's guards rendered quite well in other film renditions of the story, I have never seen since or before the equal of the set of duels that follows D'Artagnan's and the Musketeer's frantic ride to the coast in order to make their way to England and warn the Duke of Buckingham of the Cardinal's plot against the Queen of France. During this sequence of events, D'Artagnan and the Musketeers are almost delayed because of Porthos being verbally induced by a disguised guard of the Cardinal's into a duel. As two of the Musketeers and D'Artagnan depart the small country villa where they encountered the cardinal's henchman, Porthos stays on to fight against this two-sword wielding man, becoming injured in the process. The choreography, while not perhaps as "busy" as many of today's action sequences, was quite realistic, although it suffered somewhat from the comedic bent that threads itself throughout the film as a whole.
The second fight during the journey to the coast is, frankly, amazing. After an ambush near a watermill, Athos (Oliver Reed) fights off his antagonist with cape and sword in hand, in one of the most realistic and dramatic stand-offs ever seen in cinema. Reed's swordplay, as well as his extremely grave portrayal of Athos as the leader of the Three Musketeers, is the very cement that holds this film together. The realism and seriousness of Reed's fight choreography is the perfect ground for the more ostentatious choreography of York and his companions. I have scarcely seen anything like it before or since.
Toward the end of the film, D'Artagnan (York) has discovered that the sabre the Duke of Buckingham gifted him contains a dagger that secretly releases from the pommel. This device, and others, are an example of the creativity with which each choreographed sequence was approached. There is simply nothing else like it in western canon of cinematic fencing choreography.
This being said, it would be a disservice in the extreme NOT to mention that in addition to the wonderful swordplay involved in the film, that acting is absolutely, and winningly fantastic! The film has an all-star cast consisting of: Richard Chamberlain (Aramis), Charlton Heston (Cardinal Richelieu), Faye Dunaway (Lady de Winter), Raquel Welch (Constance), Christopher Lee (Rochefort), Michael Yok (D'Artagnan), and the unfortunately underrated but really quite amazing actor par excellence, Oliver Reed (Athos). Additionally, although names perhaps slightly less well known, Simon Ward plays the Duke of Buckingham, and Geraldine Chaplin (daughter of "Charlie" Chaplin) plays Queen Anne.
And last but not least, in the follow-up sequel movie to this, the Four Musketeers, Oliver Reed enacts perhaps the most faithful portrayal ever of Athos in his dire and darkly conflicted confrontation with his ex-paramour and arch-nemesis, Lady de Winter.
What is so effective about this version of The Three Musketeers' fight scenes is the realism of actual dueling. Surrounding this effective center, is the picturesque portrayal of renaissance France coupled with gripping musical sequences throughout which the combat is portrayed. The fight sequence during opening credits of the film are is in itself a testament to this fact, and a foreshadowing of the sequences to come. It is, in fact, during this very sequence that D'Artagnan (York) learns from his father his family's secret move - only to be used in the most dire of circumstances.
Although I have seen the first fight scene with the D'Artagnan and his yet to be comrades against the cardinal's guards rendered quite well in other film renditions of the story, I have never seen since or before the equal of the set of duels that follows D'Artagnan's and the Musketeer's frantic ride to the coast in order to make their way to England and warn the Duke of Buckingham of the Cardinal's plot against the Queen of France. During this sequence of events, D'Artagnan and the Musketeers are almost delayed because of Porthos being verbally induced by a disguised guard of the Cardinal's into a duel. As two of the Musketeers and D'Artagnan depart the small country villa where they encountered the cardinal's henchman, Porthos stays on to fight against this two-sword wielding man, becoming injured in the process. The choreography, while not perhaps as "busy" as many of today's action sequences, was quite realistic, although it suffered somewhat from the comedic bent that threads itself throughout the film as a whole.
The second fight during the journey to the coast is, frankly, amazing. After an ambush near a watermill, Athos (Oliver Reed) fights off his antagonist with cape and sword in hand, in one of the most realistic and dramatic stand-offs ever seen in cinema. Reed's swordplay, as well as his extremely grave portrayal of Athos as the leader of the Three Musketeers, is the very cement that holds this film together. The realism and seriousness of Reed's fight choreography is the perfect ground for the more ostentatious choreography of York and his companions. I have scarcely seen anything like it before or since.
Toward the end of the film, D'Artagnan (York) has discovered that the sabre the Duke of Buckingham gifted him contains a dagger that secretly releases from the pommel. This device, and others, are an example of the creativity with which each choreographed sequence was approached. There is simply nothing else like it in western canon of cinematic fencing choreography.
This being said, it would be a disservice in the extreme NOT to mention that in addition to the wonderful swordplay involved in the film, that acting is absolutely, and winningly fantastic! The film has an all-star cast consisting of: Richard Chamberlain (Aramis), Charlton Heston (Cardinal Richelieu), Faye Dunaway (Lady de Winter), Raquel Welch (Constance), Christopher Lee (Rochefort), Michael Yok (D'Artagnan), and the unfortunately underrated but really quite amazing actor par excellence, Oliver Reed (Athos). Additionally, although names perhaps slightly less well known, Simon Ward plays the Duke of Buckingham, and Geraldine Chaplin (daughter of "Charlie" Chaplin) plays Queen Anne.
And last but not least, in the follow-up sequel movie to this, the Four Musketeers, Oliver Reed enacts perhaps the most faithful portrayal ever of Athos in his dire and darkly conflicted confrontation with his ex-paramour and arch-nemesis, Lady de Winter.