Son of Monte Cristo

The Son of Monte Cristo
Rating: ***
Origin: USA, 1940
Director: Rowland V. Lee
Source: American Home Treasures DVD

Independent producer Edward Small’s biggest hit was The Count of Monte Cristo (1934) with star Robert Donat. Small planned to follow up with a sequel, but Donat bailed and went back to England, so the producer set the project aside until he found a charming new star in Louis Hayward. Sadly, this mediocre sequel doesn’t live up to its memorable predecessor, never really rising above Pretty Good. Much of the problem lies with screenwriter George Bruce’s story, a predictable cape-and-sword potboiler that’s more Anthony Hope (i.e., Zenda) than Alexandre Dumas, with a proto-fascist villain anachronistically thrown in for good measure.

At least the proto-fascist, General Gurko Lanen, is played by the lethally arrogant George Sanders, the only man in Hollywood who could out-sneer Basil Rathbone. The tale is set in 1865 in the fictional Balkan country of Lichtenburg, whose young ruler (Joan Bennett) is Grand Duchess Zona, a name that cannot be improved upon. Lanen and his jackbooted thugs threaten to usurp Zona’s power, so she attempts to escape to Paris to call for French intervention. Though her attempt is foiled, it’s stopped in a border incident that draws in the dashing Count of Monte Cristo—or his son, anyway, who now bears the title. Zona is taken back to Lichtenburg, and Monte Cristo, smitten, follows her.

The ensuing intrigues in Lichtenburg, though predictable, are entertaining enough, but the only thing Monte Cristo-ish about them is that the count adopts several guises and impersonations in his campaign to rescue Zona and her grand duchy from Gurko Lanen. The film plays genre-convention bingo by checking off secret passages, a masked outlaw, a grim castle dungeon, a fop with a quizzing glass, a secret treaty, a slimy sewer, a treacherous servant, forged documents, an interrupted wedding, and plenty of lively swordplay—nothing new here, but at least it’s enthusiastic. Hayward is likeable and energetic, Bennett is appealing and determined, and Sanders steals his every scene with sheer supercilious effrontery. Director Rowland V. Lee, who helmed the original, keeps the sequel moving along, and it’s a good time, mostly. Watch for Clayton Moore—yes, the Lone Ranger—as an earnest young guard captain loyal to Zona who allies with Monte Cristo.

Return of Monte Cristo

The Return of Monte Cristo
Rating: **
Origin: USA, 1946
Director: Henry Levin
Source: Firecake Entertainment DVD

The Return of Monte Cristo

Louis Hayward spent the war in the U.S. Marines, and was at Tarawa; afterward he returned to making swashbucklers, but with an edge he hadn’t had before. Interestingly, though produced by the same company and with the same star, The Return of Monte Cristo is not a sequel to 1940’s Son of Monte Cristo. The latter, set in 1865, featured the late count’s son (obviously), while Return, which begins in 1868, is about another heir entirely, the count’s grand-nephew. Thus Edward Small, who produced the hit 1934 Count of Monte Cristo, made two alternative and mutually-exclusive sequels to it in the ‘40s. Do their inconsistencies matter? Not at all!

The intro to Return features a bogus letter from Alexandre Dumas explaining why he decided to tell this story—which he totally didn’t, but it’s a pretty good Dumas pastiche, crafted in emulation of the original Count of Monte Cristo (1844). When the count’s grand-nephew and heir, also named Edmund Dantés, goes to court to claim his vast inheritance, he’s cheated of it by three corrupt officials, and sentenced, under a false name, to life imprisonment on Devil’s Island. The French tropical penal colony is even worse than the Château d’If (which will make an appearance in act two), and there’s no Abbé Faria to help him, so this Edmund Dantés is on his own. Spoiler: he manages to escape, and returns to France to commence his campaign of revenge. With the help of a master actor, who escaped Devil’s Island with him, Dantés, to fool and entrap his prey, begins assuming various guises, such as a bank auditor, an Imperial nobleman, and a hunchbacked private investigator. To give Hayward his due, these impersonations are pretty entertaining, but they can’t quite carry the film, which is fairly pedestrian otherwise.

The Return of Monte Cristo is a darker film than Son, or even Count, almost a historical film noir in feel. In fact, it’s probably the least swashbuckling Monte Cristo film of all its many adaptations and sequels. That said, its emphasis on vengeance certainly fits more thematically than the Zenda-esque Son of Monte Cristo, though that film was a lot more fun—and it had a top-notch villain in George Sanders, something this movie lacks. In short, though Louis Hayward does his best, this isn’t a very successful film.

Monte Cristo (1929)

Monte Cristo
Rating: *
Origin: France, 1929
Director: Henri Fescourt
Source: Grapevine Video DVD

Monte Cristo

Except for the Mister Magoo version from 1965, at forty minutes this must be the shortest Count of Monte Cristo ever filmed. The main thing it has going for it is that they shot many of the scenes from the novel at their actual locations, so if you’re a fan of the book, that’s a reason to watch it. Otherwise, not so much. There’s time for no more than a précis of the events of the novel, but at least we get to see Edmond Dantès, in the shroud of the Abbé Faria, tossed into the sea from the parapet of the actual Château d’If.

 

Monte Cristo (1922)

Monte Cristo
Rating: **
Origin: USA, 1922
Director: Emmett J. Flynn
Source: Flicker Alley DVD

Monte Cristo 1922

Another adaptation of Dumas’s The Count of Monte Cristo, a remake of the 1913 version, shot from the same basic script (to which Fox bought the rights), but greatly expanded for a film a half hour longer than its predecessor. Lead John Gilbert was a rising star at this point, though he hadn’t yet gained the popularity he would with The Big Parade (1925) and Flesh and the Devil (1926). Once again, Edmond Dantes succumbs to a conspiracy of envy and is imprisoned in the horrific Château d’If, only to escape and achieve his revenge, out-conspiring the conspirators as the chameleonic Count of Monte Cristo. The villains, each a different flavor of sleazy, are thoroughly despicable, and the innocent Mercedes, Dantes’s lost love, is wide-eyed and appealing. Gilbert looks and moves well in the rôle of Monte Cristo, and inhabits the count’s various guises convincingly.

This version avoids the stage-play feel of its predecessor by employing frequent close-ups and switching camera distance and angle often. And it does a better job of explaining how Dantes comes by, not just his great wealth, but also the knowledge and culture that enable him to pass as the elegant and noble count. With its extra running time, there’s room to include more of the characters and twists of Dumas’s novel, adding robberies, lurid murders, duels, and impersonations. In fact, it’s somewhat over-ambitious, trying to jam in more of the novel than is comfortable in less than two hours. In the end it feels too contrived, and not even a final spate of swordplay and highway robbery can quite save it. It’s just too hokey.