The Three Musketeers Milady: Eva Green talks to us about three crucial scenes

The Three Musketeers Milady: Eva Green talks to us about three crucial scenes



Milady’s Three Musketeers: a highly anticipated sequel

Eight months after the release of the first part, which attracted more than three million spectators in theaters, The Three Musketeers returns to our screens this Wednesday 13 December. This second work, which picks up directly after the cliffhanger of the previous one, is more focused on the character of Milady de Winter, played by Eva Green. The latter, deeply marked by a romantic wound, will reveal itself with more cracks than in the first film.

To delve deeper into this second film directed by Martin Bourboulon, we analyzed three crucial scenes from Milady, which express, in different ways, the colors of this character who came out of the imagination of Alexandre Dumas, in the company of Eva Green.

Eva Green talks to us about three crucial scenes

  • Milady returns home alone

The first scene of The Three Musketeers: Milady what we wanted to tackle with Eva Green is the one in which the antagonist returns home alone, after an intimate scene with D’Artagnan. For the first time we discover it with defects, away from the cold facade she has created for herself. Around her we find her wigs and her costumes, which she uses to manipulate her interlocutors.

Milady (Eva Green) returns home alone - The Three Musketeers: Milady
Milady (Eva Green) returns home alone – The Three Musketeers: Milady © Pathé Distribution

It’s a very short moment (…) but I found it precious to see Milady alone. She doesn’t act, she doesn’t transform. It’s a scene that follows the seduction in the tent with D’Artagnan, so we feel frustration on her part and even internal conflict. Which leads us to believe that her relationship with D’Artagnan is rather troubled. She tries to seduce him several times, but we have the impression that she is a little more herself with him, that she acts less, that she transforms less. There is a slightly more direct connection. And when she finally has the opportunity to kill him, she fails and runs away. So we wonder if you have feelings for him…

Eva Green told us.

  • A fiery duel with D’Artagnan

A fiery duel between Milady and D'Artagnan - The Three Musketeers: Milady
A fiery duel between Milady and D’Artagnan – The Three Musketeers: Milady © Pathé Distribution

The second crucial scene, again linked to D’Artagnan (played by François Civil), which we talked about with Eva Green is their glowing duel in flames. A scene for which the two actors had to rehearse for many months:

This duel with D’Artagnan was a lot of fun, firstly because it is always a luxury for an actor to be able to explore many disciplines. There was a lot of preparation beforehand, with incredible stuntmen, who were very patient and very kind. We trained together, starting with very simple things, without choreography, and then we said to each other that it would be nice to give it a slightly exotic touch, with two weapons, a bit like the Tiger and the Dragon. He needed a particular style. In this fight we truly see the warrior, the woman who fights and who knows how to fight, as agile as men. It was a scene with a lot of adrenaline, especially because of the flames (…) The big day surprised me a lot because we had never tried that thing

the French actress told us.

  • Milady confides in Costanza

Milady confides in Constance Bonacieux - The Three Musketeers: Milady
Milady confides in Constance Bonacieux – The Three Musketeers: Milady © Pathé Distribution

One of the most impactful scenes in the film is an argument between Milady and Constance Bonacieux (Lyna Khoudri). In this sequence, the antagonist of The Three Musketeers appears stripped of all pomp, and confides in the Queen’s lady-in-waiting:

It was this scene that convinced me to make this film, because we see Milady’s true face, without makeup, almost naked. We always wonder if she’s manipulative, but I think she’s very sincere. There is this almost fraternal relationship that is established with Costanza, where she trusts in her condition as a woman, in her suffering. It is a feminist speech, but above all very sincere, and which makes her character human. It’s interesting because we discover this character that she is an actress, who constantly acts, who has very different aspects, and then underneath her she has short hair, something more rough. As in the moment she returns home alone, we discover the real Milady, with her internal torments. It’s an intimate moment where she shows a little of her heart to Constance.

Source: Cine Serie

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