Gained 10 kilos to play in The Three Musketeers: Who is this actor?

What is it about? From the Louvre to Buckingham Palace, from the underbelly of Paris to the siege of La Rochelle… In a kingdom torn by religious wars and threatened by an English invasion, a few men and women will cross swords and link their destinies. that France.

10 kg more for Pio Marmaï!

In the Porthos camp, Pio Marmai gained ten kilos. The actor recalls: “I ate pork rinds to play Porthos! Martin wanted me to be thick, strong. But when you gain weight, you don’t have the same rhythm in the game.”

“My gestures were denser, my strokes had more weight. But everything had to happen quickly and ultra-precisely. It was like a ballet, and to make it all fluid and give the impression of truth, we had to repeat our actions indefinitely.”

Profitable first part

The Three Musketeers: Milady is the second part of a diptych (with a budget of around 70 million euros) directed by Martin Bourboulon, to whom we owe Papa ou Maman et sa suite and Eiffel (in which he already played Roman Durys). For this occasion, the filmmaker reunites with screenwriters Alexandre de la Patellier and Mathieu Delaporte, with whom he collaborated on the two Papa au Maman.

Milady is preceded by The Three Musketeers: D’Artagnan, released on April 5, 2023. The latter was a significant success, reaching more than 3.3 million hits on French soil. At the moment, it is the seventh biggest success at the French box office in 2023, behind Super Mario Bros. Movie, Barbie, Asterix and Obelix: The Middle Kingdom, Oppenheimer, Alibi.com 2 and Guardians of the Galaxy 3.

more tragic

The Three Musketeers: Milady acquires a more tragic dimension than d’Artagnan’s first opus, the theme of love is more relevant. Martin Bourboulon explains: “Unlike the previous part, the exhibition time has passed. Thus, it is possible to study each character more deeply and understand what is going on inside them. The exploration of their soul takes on a greater scale in this part.”

“The duality between love and death is constant. In addition, love is always a powerful emotional engine in the cinema; it is inseparable from the movement of Milad and generates immediate sympathy. The key here is to be closer to the characters and what. They feel. In addition, there is a second love story that this The film will reveal…”

Getting ready for Eva Green

Eva Green had to train for two months for the sword and dagger fight scenes. He also rode horses with jockey Mario Luraski, then with rider Margot Passfort, who helped him become less afraid of horses. At the same time, Milad’s interpreter was doing a lot of aikido. Martin Bourboulon confides: “Eva Green has tremendous cinematography, she holds the camera and captures the viewer’s eye in a very powerful way.”

“In addition to her visual appearance, she also has a soul that allows her to discover herself in certain scenes, which I really enjoyed shooting. I found her very charming in this film. Eva did a lot of physical training beforehand, which allowed us to be very precise during the shooting. In the final scene, she managed to integrate the pauses and attitudes of his fight into a choreography fed by several cues that clearly enriched the scene.”

To see at the cinema: more density, more action! The Three Musketeers returned with Milady

The novel has been adapted many times

Alexandre Dumas’ famous novel has spawned many films. Among the most famous are George Sidney’s The Three Musketeers (1948), André Huneble’s The Three Musketeers (1953), Claude Barma’s The Three Musketeers (1959), Les Ferrets de la Reine and La Vengeance de Milady (1961). ) by Bernard Border, The Three Musketeers (1973) Richard Lester, The Man in the Iron Mask (1998) Randall Wallace, D’Artagnan and the Three Musketeers (2005) Pierre Aquinnet or The Three Musketeers (2011) by Paul WS Anderson.

However, screenwriters Alexandre de la Patellier and Mathieu Delaporte admit that they had no reference to The Three Musketeers: D’Artagnan and Milady: “We’ve seen a lot, and we’ve found that most of them are comedies. It’s surprising, because the story is so dark and violent, and so many adaptations have removed that aspect. In our eyes, there is no ‘there’ is no totemic movie that sets itself up as an absolute reference. It’s an advantage. In the collective imagination And the adaptations are diffuse. Even if some, like Richard Lester, are very interesting.”