Edmond Dantès, un marinaio ingiustamente accusato di tradimento, è imprigionato nel castello d'If, al largo di Marsiglia. Dopo essere fuggito e aver assunto l'identità del Conte di Montecris... Leggi tuttoEdmond Dantès, un marinaio ingiustamente accusato di tradimento, è imprigionato nel castello d'If, al largo di Marsiglia. Dopo essere fuggito e aver assunto l'identità del Conte di Montecristo, progetta una vendetta.Edmond Dantès, un marinaio ingiustamente accusato di tradimento, è imprigionato nel castello d'If, al largo di Marsiglia. Dopo essere fuggito e aver assunto l'identità del Conte di Montecristo, progetta una vendetta.
- Premi
- 1 candidatura in totale
Sfoglia gli episodi
Recensioni in evidenza
This series is outstanding in every respect. Certainly, one of the best adaptations of Dumas' book that I have seen in my 61 years. The fact that it's an 8-part miniseries gives the production time to properly flesh out the characters and various plot strands.
Sam Claflin leads a top-notch cast (special mention for Michele Riondino, as Jacopo, and Blake Ritson, who is wonderfully evil in everything!), and the script is excellent.
Some wonderful locations and beautiful cinematography, along with excellent original music, by Volker. Bertelmann) complete what is an epic production.
I only hope it goes on to be seen by a wide audience, as it truly deserves to be seen!
Sam Claflin leads a top-notch cast (special mention for Michele Riondino, as Jacopo, and Blake Ritson, who is wonderfully evil in everything!), and the script is excellent.
Some wonderful locations and beautiful cinematography, along with excellent original music, by Volker. Bertelmann) complete what is an epic production.
I only hope it goes on to be seen by a wide audience, as it truly deserves to be seen!
By far the best adaptation of Monte C and closest to the book. Compared to French version this one is superior. Almost 90% is true to the book, the rest is light modifications, some good, some not very smart...
Lacks the intensity of the stories in the book. Maybe one or two more episodes would give time develop all characters correctly!
Everything was covered, a lot of details, good cinematography, but a lot is left unsaid... Few characters were merged, and used poorly, but I gave it a high rating, because other adaptations did not even try to follow the book.
Solid adaptation of a great book!
Everything was covered, a lot of details, good cinematography, but a lot is left unsaid... Few characters were merged, and used poorly, but I gave it a high rating, because other adaptations did not even try to follow the book.
Solid adaptation of a great book!
In a landscape filled with adaptations that often only capture a shadow of their source material, "The Count of Monte Cristo" miniseries arrives as a resounding triumph-a television event that not only honors but elevates its origins. This isn't just another version of Alexandre Dumas's story; it is, without a doubt, the definitive adaptation for our generation and one of the best I have ever had the pleasure of watching. A flawless masterpiece that deserves every second of your attention and the highest possible rating.
At the heart of this magnificent production lies the performance of a lifetime from Sam Claflin, who delivers an unforgettable Edmond Dantès/Count of Monte Cristo. His portrayal is, without exaggeration, hypnotic and masterful. We watch with bated breath as he transitions from the naive young sailor, his eyes brimming with hope, to the cold, calculating, and relentless Count, whose pain and thirst for revenge burn behind a facade of charisma and absolute control. The camera masterfully captures every micro-expression, revealing the layers of a man remade by tragedy and knowledge.
The brilliantly crafted screenplay achieves the rare feat of being extremely faithful to the soul of the book. The eight-episode miniseries format was the perfect choice, allowing the complex plot to unfold with the necessary pace and depth. Essential characters like Maximilien Morrel, Valentine de Villefort, and even the bandit Luigi Vampa-so often cut from other versions-are given their due prominence here, enriching the narrative and showing a profound respect for Dumas's work. The few changes made only serve to enhance the story's cohesion, making it even more believable and impactful on screen.
Visually, the series is a cinematic spectacle. Every scene is a painting, with stunning cinematography, authentic costumes, and spectacular locations that transport us directly to 19th-century France. From the desolation of the Château d'If to the opulence of Parisian salons, every detail is meticulously crafted, creating an immersive experience and a true feast for the eyes. The original score perfectly complements the atmosphere, intensifying every moment of tension and drama.
The supporting cast is equally brilliant. Jeremy Irons delivers a wise and captivating Abbé Faria, and his chemistry with Claflin makes their time in prison one of the series' high points. The villains are magnificently portrayed, with a palpable evil that makes the Count's revenge all the more satisfying. Characters like Jacopo and the series' version of Caderousse bring humor and humanity, balancing the story's tone.
"The Count of Monte Cristo" is television at its finest. It is a series that captivates from the first second to the last-an epic journey of betrayal, redemption, and one of the most well-orchestrated vengeances in literature. In the end, the feeling is not just one of satisfaction, but of gratitude for the creation of such a powerful and respectful adaptation. For fans of the book and newcomers alike, this is a must-watch experience and the perfect justification for a 10/10 rating. Simply marvelous.
At the heart of this magnificent production lies the performance of a lifetime from Sam Claflin, who delivers an unforgettable Edmond Dantès/Count of Monte Cristo. His portrayal is, without exaggeration, hypnotic and masterful. We watch with bated breath as he transitions from the naive young sailor, his eyes brimming with hope, to the cold, calculating, and relentless Count, whose pain and thirst for revenge burn behind a facade of charisma and absolute control. The camera masterfully captures every micro-expression, revealing the layers of a man remade by tragedy and knowledge.
The brilliantly crafted screenplay achieves the rare feat of being extremely faithful to the soul of the book. The eight-episode miniseries format was the perfect choice, allowing the complex plot to unfold with the necessary pace and depth. Essential characters like Maximilien Morrel, Valentine de Villefort, and even the bandit Luigi Vampa-so often cut from other versions-are given their due prominence here, enriching the narrative and showing a profound respect for Dumas's work. The few changes made only serve to enhance the story's cohesion, making it even more believable and impactful on screen.
Visually, the series is a cinematic spectacle. Every scene is a painting, with stunning cinematography, authentic costumes, and spectacular locations that transport us directly to 19th-century France. From the desolation of the Château d'If to the opulence of Parisian salons, every detail is meticulously crafted, creating an immersive experience and a true feast for the eyes. The original score perfectly complements the atmosphere, intensifying every moment of tension and drama.
The supporting cast is equally brilliant. Jeremy Irons delivers a wise and captivating Abbé Faria, and his chemistry with Claflin makes their time in prison one of the series' high points. The villains are magnificently portrayed, with a palpable evil that makes the Count's revenge all the more satisfying. Characters like Jacopo and the series' version of Caderousse bring humor and humanity, balancing the story's tone.
"The Count of Monte Cristo" is television at its finest. It is a series that captivates from the first second to the last-an epic journey of betrayal, redemption, and one of the most well-orchestrated vengeances in literature. In the end, the feeling is not just one of satisfaction, but of gratitude for the creation of such a powerful and respectful adaptation. For fans of the book and newcomers alike, this is a must-watch experience and the perfect justification for a 10/10 rating. Simply marvelous.
I have seen less than 50 percent of Bille August work and never liked any of his movies, actually most of it made me wanna puke and think he is totally overrated. Mediocre movies that I feel are so poorly made but this one is just amazing.
Maybe it is because this Story is just so amazing, that his talent finally come to show. But this is the best version of the The count of Monte Christo I have ever seen.
Great acting, great flow in the story, cinematic experience was superb felt like a historical experience and the audio was amazing.
Our family, old and young, was glued to the screen for two days.
The only minus was the pretentious birth name of his daughter who had a minor role in the movie which she did, ok. So we withdraw the tenth star.
Maybe it is because this Story is just so amazing, that his talent finally come to show. But this is the best version of the The count of Monte Christo I have ever seen.
Great acting, great flow in the story, cinematic experience was superb felt like a historical experience and the audio was amazing.
Our family, old and young, was glued to the screen for two days.
The only minus was the pretentious birth name of his daughter who had a minor role in the movie which she did, ok. So we withdraw the tenth star.
Out of ALL of the versions of this wonderful tale of abstract revenge; this series happens to be the most wonderful of all. Although it lacks the action of the predecessors, it is the CLOSEST adaptation to the novel. This series encompasses the majority of the book and in such, it should be deemed as a must watch be any and everyone that loves this novel. This adaptation shows all aspects of the angst of the protagonist. In Edmond Dantes, you can see that he struggles with doing what his heart desires as revenge but nonetheless he goes forward even in his one on one interactions with Mercedes, he still goes forward. Dumas would have LOVED this rendition.
Lo sapevi?
- QuizIn the book the Count of Montecristo made occasional use of a hashish paste. While this is never explicitly stated in the series, several times the Count can be seen eating the content of a small vial.
- BlooperAction inside the prison takes place from 1815, but Edmond and Faria use metric. Napoleon abandoned the system in 1812 (after extensive public protest), and it wasn't brought back until 1840.
- ConnessioniVersion of The Count of Monte Cristo (1908)
I più visti
Accedi per valutare e creare un elenco di titoli salvati per ottenere consigli personalizzati
Dettagli
- Colore
- Proporzioni
- 1:2
Contribuisci a questa pagina
Suggerisci una modifica o aggiungi i contenuti mancanti