Reflections
on “The Count of Monte Cristo” (2024),
focusing
on elements to do with the Enlightenment Movement and Existentialism
Screenplay
and Direction by
Matthieu
Delaporte and Alexandre de La Patellière,
based
on the classic tale by Alexandre Dumas
Starring
Pierre Niney, Bastien Bouillon, Anais Demoustier, Laurent
Lafitte et al
Somewhat condensed and
altered from the original highly complex tale, with some events, actions and
characteristics transposed to different characters, the 2024 French film
version nonetheless remains faithful to the intentions and spirit of the
original. It explores themes such as justice, revenge, fate, love, identity,
education and hope without sacrificing elements of action and adventure.
Underpinning everything,
however, are the precepts of the eighteenth-century Enlightenment Movement
which influenced thought, society and politics in the nineteenth century by
casting doubt on the existence of God and morality and demanding accountability
from those responsible for government, law and order. These concepts are
fundamental to the storyline and the principal theme of revenge (or justice) in
“The Count of Monte Cristo”.
Edmond Dantès is
imprisoned not as a result of immorality or even a crime against French law,
but as a consequence of human jealousy, spite and ambition with three men
conspiring to sacrifice his remaining life, and potential deeds and influence
to benefit their own interests, desires and aspirations. Dantès has no recourse
to natural justice (or God’s law), French law or common humanity. These three men
have colluded to deprive Edmond of what we would nowadays see as his human
rights and this act, taken to extremes, emphasises the possibility that if God
and morality do not exist, all that remains is what men are capable of doing to
one another if they are unwilling to show common respect and compassion, and if
they are willing to place their own interests above the needs and rights of
others.
Edmond holds on to hope
in the form of his memories of and love for Mercédès, the woman he was about to
marry when he was abruptly arrested and condemned to a life of isolation and
misery in the Château d’If, though even that begins to wane and he starts to
despair.
However, hope and even
society are restored when the Abbé Faria, a fellow prisoner also condemned to
rot in the Château d’If, makes contact by accident as he attempts to tunnel his
way out of the formidable prison.
The Abbé is an
intelligent, wise and learned man who is willing to share not just his efforts
to tunnel and escape but also, and perhaps more importantly, his knowledge,
wisdom and intelligence. He provides Edmond with an education as they study and
contemplate truth, maths, languages, philosophy and reasoning. This has a
twofold effect on Edmond. It effectively releases his mind from physical
captivity by giving him purpose and a sense of spiritual achievement, and it enables
Edmond to consider matters with discipline and understanding, calmly
calculating responses and actions rather than responding emotionally and in
haste.
Of course, the Abbé’s
death allows Edmond to make a daring escape and the Abbé has shared with him
the whereabouts of a vast fortune, here the lost fortune of the Templars. The
Abbé has, then, a huge impact on Edmond, both in life and in death, and it
could be argued that God sent the Abbé, a man of God, to Edmond as a means of
evolution and escape. Fate sees to it that Edmond crosses paths with numerous
other characters essential to his story and while a case may be made for divine
intervention or the hand of fate, it should be recognised that the Abbé’s
impact was due to his personal qualities rather than because he was a man of
God, and Edmond advances due to his determination, the choices he makes and the
actions he takes.
The fortune he has
accessed may also be viewed as the result of divine intervention, fate or luck,
but the point is Edmond does not use it for self-indulgence or to abuse the
power and influence his wealth affords him. He restricts himself to his own
affairs and uses the money as a means of rewarding those he sees as deserving, though
also as a means of fulfilling his dream of vengeance, but he is in
control. He is disillusioned by society, its laws and its officers and recognises
no other authority but his own. Indeed, at one point in the film, Edmond enters
a church and speaks directly to God, telling Him that he, Edmond, will take
responsibility for his actions and the punishment he will mete out on those who
wronged him. Edmond has seen little evidence of God’s justice and so he
declares he will impose his own brand of justice, though questions will
eventually be raised concerning the difference between justice and revenge.
This existential
solution, with Edmond taking moral matters into his own hands because he fails
to perceive any divine influence or input, leads eventually to the whole matter
of the impact of our actions on others…
Edmond, along with
Andrea, Angèle and Haydée, wish to see retribution for what they have suffered
at the hands of Danglars, Villefort and Morcerf, and Edmond has concocted a
plan by which these men will suffer and lose what they gained through their
mistreatment and abuse of others. However, pain, suffering and death are
wrought upon innocents, or at least those not directly involved in the original
wrongdoing, leading Haydée and Mercédès to point out to Edmond the potential
injustice in terms of consequences for others of his plan and actions.
Indeed, if he persisted
in blindly actioning his plan without regard for the fate of those involved
collaterally, he would be little better than those who originally betrayed him
for their own advantage. Account must be taken of the effects of our actions on
others and this involves an appeal to humanity and conscience.
Edmond brings about the
carefully orchestrated downfall of his wrongdoers but he is now no longer the
same idealistic, positive and sweet man of his youth. Identity is governed
principally by character and experience. Edmond was betrayed, sacrificed and forgotten
by those he trusted and loved, and while resentment and thoughts of revenge
provided purpose and fuelled determination, allowing him to survive, escape and
evolve into the Count of Monte Cristo, they came close to overwhelming him and
transforming him into the type of creature of which he so rightly and heartily
disapproved.
Mercédès and Haydée
manage to rekindle or recall his humanity and Edmond limits himself, choosing
to avoid killing Albert in a duel and advising Albert and Haydée to run off and
be happy together, thus choosing life over revenge, recalling a choice made by
Angèle earlier in the film.
In at least one other
film version, Edmond reconciles with Mercédès and lives happily with her and
Albert who may or may not be his own son… In the book, Haydée declares her love
for Edmond and they set off for the Orient together. In this film, Albert and
Haydée find love together and Edmond writes to Mercédès, telling her that while
he still loves her, he is too scarred by his experiences to be able to fulfil
their love. He is seen on board a ship, essentially alone, coming to terms with
his past and seeking a new future, and I consider that an apt and fitting
ending in keeping with the existential precepts expressed elsewhere in the
film.
I must say I found this
version a pleasant surprise. I liked the balance between action and plot and I
enjoyed the well-developed characters and brisk direction. It had enough depth
to engage and enough style to entertain with strong performances all round, but
especially by the villains of the piece.
My thanks for taking the
time to read this article. I hope you found it of some value.
Stuart Fernie (stuartfernie@yahoo.co.uk)
No comments:
Post a Comment