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This thing with films that move from the view of youthful eyes to the reality of the adult gaze. So that was the first and best part of the series. Phew, then the sequels must have been real cheese. The great strengths are the stereotypical characters, who are definitely very likeable. The script writers did a less good job than the casting department. A minimal framework story to justify a series of silly slapstick clips. The concept was apparently unresolved internally, the film oscillates between spoof movie, socially critical undertones and light-hearted action comedy. The gag density is high, the hit rate less so. Yes, somehow a cult film, yes, somehow not.

This brought back memories, I had obviously seen the film when I was younger. A rather rare film today, currently only available as a TV rip. The French flair is as obvious as the attempt to cover as many genres as possible. Mystery, crime thriller, drama, mad scientist and even a little splatter. It succeeds harmoniously and both the suspense and the entertainment level are maintained throughout. There are many bloody interludes, which stylistically anticipate the 'Final Destination' series, for example, but are more amusing than convincingly realised. The atmosphere is generally best described as grubby. Knowing how, the director was usually more into soft erotica. Emmanuelle here, Emmanuelle there. Here, however, it stays with covered skin. The main cast performs convincingly, but the smaller roles fall well short. A nice journey through time, but personally not a film for the collection.

Respect for productions of this kind that invest a lot of money and effort in such originals. Classic material, rather removed from current viewing habits, staged just as classically. And without shying away from narrative depth, which means 300 minutes in length. Not a minute too much! The film manages to get to the heart of the plot, the hatred of a man who, despite his absolute innocence, has everything taken from him out of nowhere. The viewer feels his thirst for revenge, as well as the patience and strength of will that he has acquired due to the adverse circumstances of his time of suffering. In the same way, the important moral question of the appropriate extent of retribution also arises. How far can a person go in this respect without treading the path of wickedness himself? The Count moves far away from these and just as far away from the role of hero and sympathiser. Formally, however, I would like to argue that the story and its narrative style draw us viewers to the side of the furious search for justice. At this point, it should be emphasised that this is not a faithful adaptation. In fact, Edmont Dante / the Count of Monte Cristo's plan is even more complex and, depending on your point of view, darker in its final nuances. However, the final doubts about the extent of his subjective campaign for justice are similar in tone.

The current film version looks great and has a great cast. Many people are saying that the umpteenth realisation was good but just as unnecessary. I counter this with the fact that, with a few exceptions, all screen material is just repetition. This one is timeless and full of content, and therefore legitimised for regular adaptation.