The film used the synopsis of the book I am everything at an accelerated pace without the proper development of the story, in addition to a superficial writing. 1h and 30 minutes are not enough to adapt the book and develop the story properly.
The 1929 French version is far superior .
. Although director Fescourt's version of Monte Cristo presented a somewhat simplified version of Dumas' story (having authored, as usual, his own screenplay), the above outline does itself capture only the barest threads of what remains a complex and multi-faceted plot. But with a slimmed down storyline and a near four hour running time Fescourt had ample time to encapsulate and depict the very essence of Dumas's novel, not only in its drama and scale and the constantly changing fortunes of its characters but also in its portrayal of their evolving attitudes to one another.
And this distinction between the first and second half of the film is echoed in a number of other aspects. The first half is very much an adventure film, with Dantes' return from the sea, his arrest, incarceration, daring escape and search for the treasure. In contrast, the second half is much more carefully paced. In place of thrills we have gradually escalating tension and melodrama. While the first half made stunning use of location shooting, with the arrival of the sailing ship in Marseilles and actual filming on the Château d'If island prison being particular highlights, the largely Paris-focused second half was mainly studio based, with a series of increasingly grand set pieces, each sumptuously designed and decorated. While Dantes's Arab-themed palace on Monte Cristo island may have looked just a tad over the top, it was certainly visually stunning. Equally impressive was the set of his Parisian residence (above right) where Mondego is humiliated. Built on an enormous scale, the matt-ing between actual set and painted backdrop was just seamless. Then there was the evening at the opera, where Monte Cristo makes his grand entrance. But even the more intimate scenes were often shot on an impressive scale, for example the shooting gallery where Dantes practised for his forthcoming duel,.
The 1929 French version is far superior .
. Although director Fescourt's version of Monte Cristo presented a somewhat simplified version of Dumas' story (having authored, as usual, his own screenplay), the above outline does itself capture only the barest threads of what remains a complex and multi-faceted plot. But with a slimmed down storyline and a near four hour running time Fescourt had ample time to encapsulate and depict the very essence of Dumas's novel, not only in its drama and scale and the constantly changing fortunes of its characters but also in its portrayal of their evolving attitudes to one another.
And this distinction between the first and second half of the film is echoed in a number of other aspects. The first half is very much an adventure film, with Dantes' return from the sea, his arrest, incarceration, daring escape and search for the treasure. In contrast, the second half is much more carefully paced. In place of thrills we have gradually escalating tension and melodrama. While the first half made stunning use of location shooting, with the arrival of the sailing ship in Marseilles and actual filming on the Château d'If island prison being particular highlights, the largely Paris-focused second half was mainly studio based, with a series of increasingly grand set pieces, each sumptuously designed and decorated. While Dantes's Arab-themed palace on Monte Cristo island may have looked just a tad over the top, it was certainly visually stunning. Equally impressive was the set of his Parisian residence (above right) where Mondego is humiliated. Built on an enormous scale, the matt-ing between actual set and painted backdrop was just seamless. Then there was the evening at the opera, where Monte Cristo makes his grand entrance. But even the more intimate scenes were often shot on an impressive scale, for example the shooting gallery where Dantes practised for his forthcoming duel,.