The Three Musketeers Review: D’Artagnan

It’s hard to do something new with The Three Musketeers. Alexandre Dumas’ 1844 novel has been adapted countless times, from Silent Ships and Soviet musicals to Disney’s endless anthropomorphisms. The last successful performance dates back to 2011 – an abyss Brilliant makeover by Paul WS Anderson (in 3D, no less). No hay tales cinematic tricks in the new round directed by Martin Bourboulon, recien sacado de his recent fantasy romantic comedy by Gustave Eiffel starring Emma Mackey: se trata de un bravucón descarnado del más alto nivel, anche con una smile y un brilliant in the eyes.

The massive novel is divided into two parts, with this first film focusing on the arrival of our stubborn hero D’Artagnan at the court of Louis XIII of France in the hope of becoming one of the king’s musketeers. It’s actually played by the child face Francois Civil, star of Netflix’s hit French sitcom. Call my agent! whose cast of representatives we imagine smoking fine cigarettes behind the camera. There is indeed something strange The Three Musketeers: D’Artagnan – blends in scale with modern blockbuster cinema but somehow restores to old regime cinema in its commitment to practical effects and location shooting. Maybe because it’s so French.

Joining Civil’s D’Artagnan as the original The Three Musketeers are international star Vincent Cassel as Athos, Pio Marmaï as the bisexual Porthos and Romain Duris as Aramis, who reunited with Bourboulon after played his starring role in eiffel. They are joined by the crème de la crème of French actors, including Louis Garrel as Louis and Eva Green as the bubbly pipe-smoking Milady. Then there’s Vicky Krieps as Queen Anne, adding yet another idiom to her rapidly growing list, providing a wonderfully subtle counterpart to the swagger of our charming quartet. Building great suspense, she considers our appetite for part two in December.