O Conde de Monte Cristo

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.

I'm extremely happy with how this series was made. Not only have they found a way to make it realistic, but they've also found a way to make the story so precise that it could have easily happened in reality. One of the few adaptations I can say is wonderful. The cast and locations are breathtaking in their authenticity.

I appreciate the fact that they changed the story just enough to make it more feasible, as compared to random. The issue with the original was always there were too many things that had to align just right for it to work. That's not the case with this series, they made it very believable.

!0/10 well done, truly fantastic work.

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.

This is one of the greatest of revenge tales. Even Lew Wallace borrowed from "The Count of Monte Cristo" when he wrote "Ben-Hur" around 40 years after "Monte Cristo" was first published.

A few reviewers on here take issue with how this veers off from the book and don't give it a high rating for that reason. Every adaptation of "Monte Cristo" veers off from the book. That has to happen because the multi-faceted revenge story is complex and wasn't meant to be watched, just read. This veers off in ways that enhance the theme of this story.

This series is a great watch. We couldn't stop. We wanted to know what he was going to do next. And because there was so much irony, many scenes were surprisingly funny as Dantes' victims fell into his web.

Sam Claflin was detached, pained, clever, single-minded and charismatic, credibly portraying everything that Dantes needed to be to pull off his revenge.

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.