trc134
In response to webbarton's astute observation above and query regarding this film--I saw it last night on TCM's on demand service after not seeing it for about 50 or 60 years. The analogy to WWII which you point out did not appear to me until the scene where Gurko Lanen finds the printing press. He orders all the windows in the store smashed. I immediately thought of Kristallnacht. This was obviously intended as there was no reason at all to smash all the windows. Lichtenberg also appears to be Serbia which was always a strong Russian ally and in the film there's an Orthodox wedding. Serbia's also Orthodox. Who would guess this film could be so deep?
MartinHafer
Louis Hayward stars in a film that is supposed to be a sequel to the story "The Count of Monte Cristo" but it really has very little to do with the story and really could have stood pretty well on its own. My advice is not to worry about the original film—just watch this one and enjoy.The film, is set in a small mythical European country in 1855. A vicious general (George Sanders) has taken over the country and is keeping the rightful queen (Joan Bennett) from running the nation. To help him do this, he has the army behind him as well as an army of sniveling spies. When the Prime Minister and Queen try to make a break for it, he captures them and threatens to have the Prime Minister executed and force the Queen to marry him. But, the Count of Monte Cristo arrives and decides to help. Posing as a character VERY similar to the foppish persona of the Scarlet Pimpernel, Monte Cristo joins up with the underground and tries REPEATEDLY a variety of plans to stop the General.Overall, this is a very fun swashbuckling film. While a lot of it seemed very familiar, it was quite enjoyable throughout—with a nice pace and excellent characters. I liked how the Count was not above killing people (he killed at least 3or 4) and Sanders made for an excellent villain. The ending was also quite nice. The only complaints I have are that the plot was, at times, too busy. Too many twists and failed plots—I think it could have been streamlined just a bit. Also, a silly mistake are the skeletons in the crypt—some of them are obviously anatomy skeletons—with the tops of their skulls sawn in two—something you'd NEVER find in a normal crypt!
wes-connors
Some surprisingly glorious scenery and set direction highlight "The Count of Monte Cristo". Louis Hayward cuts a fine Count (aka "The Torch"). Joan Bennett is the beautiful queen - attracting the attentions of both Mr. Hayward and a deliciously wicked George Sanders. They, and the supporting players work very well together, and keep the movie interesting.My favorite of the many nicely envisioned scenes is when Ms. Bennett, in a garden prison, releases a bird from its cage. Cleverly symbolic. I also like the "graveyard" hiding place - decorated with skeletons. The film's ending is terrific. With a tightening of its script and a little more budget, this might have attained classic status. It's a great example of a cast and crew making the absolute most of what they were given by a studio. ******* The Son of Monte Cristo (12/5/40) Rowland V. Lee ~ Louis Hayward, Joan Bennett, George Sanders
Neil Doyle
Another bigger than usual budget for an Edward Small film that is very much in the same pattern as THE MAN IN THE IRON MASK, with the same stars--LOUIS HAYWARD and JOAN BENNETT--with Hayward again as the man who assumes a disguise (as a fop) in order to win the freedom of the Duchess of Litchtenberg from the clutches of villainous GEORGE SANDERS and his traitorous ways.Full of intrigue, swashbuckling and occasional moments of romantic byplay, it's handicapped by Bennett's ice princess manner of performing in these costume roles as a damsel in distress--beautiful but expressionless. LOUIS HAYWARD, on the other hand, is very animated and charming in the title role, showing prowess with the swordplay and finally getting the upper hand in a duel of wits and swords with Sanders.It's enjoyable but full of deja vu for those who've seen other swashbucklers of this ilk. FLORENCE BATES has a few wry moments as Bennett's maid, and MONTAGU LOVE is effective as a wrongly imprisoned nobleman.The musical score by Edward Ward is helpful in sustaining an air of adventure but certainly not one of his more notable scores.Summing up: Standard entertainment that must have made Saturday matinée audiences happy in the '40s--but it's all just too familiar with no original touches.
AD
