mortycausa A combination adventure/comedy/romance, it is simply superb. It has flair and it moves fast. Everyone is good in it, even, surprisingly, Racquel. There's more than a touch of parody and self-parody. It's like they all watched too many swashbuckling movies. To wit: D'Artagnan (York) tries to extinguish a candle with a flourish of his sword across the flame. It doesn't work; he shakes his head, removes his gauntlet; and puts it out with his finger and thumb. Racquel's husband, Spike Milligan, keeps trying to arrange to have sex with her, but something always goes wrong, including and especially the interference of the Cardinal Richelieu and his henchmen. And Heston is superb as Richelieu. Great turn as villain. Great because he plays it straight. That's what makes him so effective. He and Christopher Lee play off each other brilliantly. (He walks into his torture chamber, talking to either Spike or Chistoperher Lee (I forget which), and one of the victims hanging from within one of the cages says very respectfully, "And how are you, Your grace." The fey king who has his courtyard lawn manicured like a chessboard plays the game with live dogs. He is perfect, too. The swordplay, of which there is plenty, is brilliantly choreographed. They actually had to learn to fight with swords. Lee almost was killed. If there is a hero, it's D'Artagnan's man-servant. When I saw it as a young man when it came out, the audience cheered loudly when the guys came to the rescue at the end.

Mark Pringle (mark-32-207607) This adaptation of the Three Musketeers is one of the absolute best renditions of the Three Musketeer story ever. But what I rarely see is a review about the fencing and swashbuckling sequences in the film. Michael York, for one was trained in fencing techniques, and was quite fit during the time that he filmed this adaptation - not at all unlike some of the martial arts actors in the movie industry today. It is time for young actors to make a comeback in the same swashing and noble spirit displayed by the members of this cast - and Pirates of The Caribbean is proof enough of the market's current interest in this adventurous sort of filming.What is so effective about this version of The Three Musketeers' fight scenes is the realism of actual dueling. Surrounding this effective center, is the picturesque portrayal of renaissance France coupled with gripping musical sequences throughout which the combat is portrayed. The fight sequence during opening credits of the film are is in itself a testament to this fact, and a foreshadowing of the sequences to come. It is, in fact, during this very sequence that D'Artagnan (York) learns from his father his family's secret move - only to be used in the most dire of circumstances.Although I have seen the first fight scene with the D'Artagnan and his yet to be comrades against the cardinal's guards rendered quite well in other film renditions of the story, I have never seen since or before the equal of the set of duels that follows D'Artagnan's and the Musketeer's frantic ride to the coast in order to make their way to England and warn the Duke of Buckingham of the Cardinal's plot against the Queen of France. During this sequence of events, D'Artagnan and the Musketeers are almost delayed because of Porthos being verbally induced by a disguised guard of the Cardinal's into a duel. As two of the Musketeers and D'Artagnan depart the small country villa where they encountered the cardinal's henchman, Porthos stays on to fight against this two-sword wielding man, becoming injured in the process. The choreography, while not perhaps as "busy" as many of today's action sequences, was quite realistic, although it suffered somewhat from the comedic bent that threads itself throughout the film as a whole.The second fight during the journey to the coast is, frankly, amazing. After an ambush near a watermill, Athos (Oliver Reed) fights off his antagonist with cape and sword in hand, in one of the most realistic and dramatic stand-offs ever seen in cinema. Reed's swordplay, as well as his extremely grave portrayal of Athos as the leader of the Three Musketeers, is the very cement that holds this film together. The realism and seriousness of Reed's fight choreography is the perfect ground for the more ostentatious choreography of York and his companions. I have scarcely seen anything like it before or since.Toward the end of the film, D'Artagnan (York) has discovered that the sabre the Duke of Buckingham gifted him contains a dagger that secretly releases from the pommel. This device, and others, are an example of the creativity with which each choreographed sequence was approached. There is simply nothing else like it in western canon of cinematic fencing choreography.This being said, it would be a disservice in the extreme NOT to mention that in addition to the wonderful swordplay involved in the film, that acting is absolutely, and winningly fantastic! The film has an all-star cast consisting of: Richard Chamberlain (Aramis), Charlton Heston (Cardinal Richelieu), Faye Dunaway (Lady de Winter), Raquel Welch (Constance), Christopher Lee (Rochefort), Michael Yok (D'Artagnan), and the unfortunately underrated but really quite amazing actor par excellence, Oliver Reed (Athos). Additionally, although names perhaps slightly less well known, Simon Ward plays the Duke of Buckingham, and Geraldine Chaplin (daughter of "Charlie" Chaplin) plays Queen Anne.And last but not least, in the follow-up sequel movie to this, the Four Musketeers, Oliver Reed enacts perhaps the most faithful portrayal ever of Athos in his dire and darkly conflicted confrontation with his ex-paramour and arch-nemesis, Lady de Winter.

T Y This movie has not been available for quite a while. I recall from long-ago viewings that it was sumptuous to look at, with unusually 'luxe costumes. I was happy to see it pop up on Netflix, but a lot has happened to movies since 1973...The verdict? It's refreshing to see that even after 40 years of Hollywood film visuals being continually upgraded, the wide screen cinematography still impresses. The visuals are so strong that I recall about half of them perfectly. It includes a lot of historical research (often pertaining to toil) which lifts the piece, and it riffs beautifully on Vermeer's side-lit domestic chambers. Lester (or his cinematographer) has a great eye. As I watched I recall that this movie introduced overt athleticism to fight scenes, so maybe we have Lester to blame for starting that trend (which is still the sole conceit of many bad movies). The costumes are every bit as opulent as I recall. Money has been spent & every dime is on-screen. Every historical film in recent memory still borrows from this (Amadeus, Ridicule, etc.)On the negative side, I have no idea what would draw a viewer to watch this more than once. None of the characters or their predicaments engaged me. I wish the story was stronger. The cast is too massive for this tiny conflict. At certain points the score arrives full blast, to fill sections of the movie they apparently forgot to storyboard. It feels like things are set in France only about twice in the movie. And Raquel Welch is not very good. The wall-to-wall slapstick starts alright but becomes more and more annoying. And the movie as a whole is on the irritating side. The countless fights go on and on until they just blend together. The movie has so few places to go, that it should be less tiresome. But two very lonely ideas (sword fights, slapstick) crave more support. The visuals are very strong. The script is weak.

beresfordjd A wonderful film, as was the sequel. I believe that they were actually one movie edited to make two but I could be wrong. The opening credit sequence still never fails to give me goosebumps whenever I see it. Combined with the marvellous music it remains as fresh as when it was first released Oliver Reed is awesome in it, as is the rest of the cast. I truly believe he was worthy of an Oscar for his performance as Athos.Faye Dunaway is gorgeous and sexy and to my delight and surprise Raquel Welch shows a comic sensibility too. Christopher Lee makes a great villain and Richard Lester's idiosyncratic way of overdubbing comic asides from the peripheral characters make the whole thing a joy. The fight sequences have an authenticity which was never achieved before these movies. The costumes, locations and scenery are sumptuous and absorbing (Oscars should have been awarded) and I only hope for a Blu-ray high quality release with proper full sound to make my enjoyment complete. A great pity that Oliver Reed is only remembered for his drinking rather than the kind of performance he gives here.