Der Sohn von Monte Christo

Dashing Edmund Dantes Jr. (Louis Hayward), the son of the famed Count of Monte Cristo, uses the masked guise of the Torch to come to the aid of his beloved the fair Zona (Joan Bennett), royal grand duchess of Lichtenburg in an attempt to rescue both her and her country from falling into the hands of a determined dictator named General Gurko Lanen (George Sanders) who would be king and force poor Zona to be his queen.

While this is pretty typical fare of its type, that doesn't make this swashbuckler any less entertaining. This certainly manages to capture one's interest and imagination throughout, its supporting players even proving more than up to said task particularly Ian Wolfe as Stadt and Montagu Love as Baron Von Neuhoff. In the end, while this does deliver the expected goods in terms of lush scenery, a dashing daring do lead hero in Hayward and a devious, devilishly clever lead villain in Sanders, exciting climactic swordplay and further action and intrigue and even perhaps some symbolism of the political intrigue at work in the world at the time this was filmed, it really offers up very few actual surprises and proves far too predictable overall. Regardless, this proves a most enjoyable film experience.

This swashbuckler is developed in Europe on the epoch of Napoleon III empire .The Balkanes,steeped in the ancient traditions of romance and chivalry, people hold unswerving loyalty to the throne on which now sits the young great Duchess Zona(Joan Bennett)of Lichtenburg(a country similar to the ¨Prisoner of Zenda¨).She rules under the sinister shadow of one despotic tyrant(George Sanders)general Gurko Lamen who tries to take over . The son of Edmond Dantes (Louis Hayward), the famous Count of Montecristo ,simulating to be a foppish count and masked is ¨the Torch¨ helping the Duchess. She flees to find herself with the emperor Napoleon III.

The picture is a sequel to ¨The Count of Montecristo (1934)¨ also directed by Rowland V. Lee , though none connection exception of the father and son relationship. In the film there are action,adventures,melodrama,fencing duels, a love story,derring-do and is pretty entertaining and funny. Louis Hayward as masked avenger is very fine , his following films were a series of swashbucklers during fifteen years. Joan Bennett as the attractive duchess is enjoyable and enticing .Both played in 1939,¨The man in the iron mask¨, and again teamed up for this agreeable adventure.George Sanders as always plays a dastardly villain. Besides appear as secondaries actors,Clayton Moore(Lone Ranger),Montagu Love,Henry Brandon,Ralph Bird and Ian Wolfe. Direction by Rowland V. Lee is excellent, is famous in his films the extensive use of low angle shooting by means of a special device to heighten the impact of the scene . The movie was nominated to the best production design for Edward Boyle by its imposing sets though obtain none. The flick will appeal to swashbuckler enthusiastic and adventures cinema fans.

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

It is almost invariably a bad sign when the villain of the piece utterly steals the show in the first ten minutes - even when said villain is played by the inimitable George Sanders. I was seriously tempted to give up on this film before the eponymous Count had made his (delayed) appearance; indeed, memory suggested that on a previous occasion I had actually done so. To have missed the remainder of this charming film, however, must now rank as one of my most serious misjudgements so far!

George Sanders is superb as the ruthless Gurko Lanen, but a performance of this calibre in the role of the villain holds the danger of overbalancing the film in the absence of a totally outstanding performance on the part of his opponent. But the introduction of Louis Hayward's slender, charming Monte Cristo as an outsider into the cliche'd Ruritanian mix proves to be the vital spark that not only saves the film but catapults it to rank as a joyous classic of its genre. As Gurko Lanen sardonically observes, it is an adversary with a sense of humour who is dangerous.

No-one could claim originality for the plot. There are strong echoes of 'The Mask of Zorro' to be found, as our well-born young hero alternates the pose of a fop - suffering the scorn of his ladylove - with the role of masked defender of the downtrodden masses. But expectations are constantly subverted; like its title character, the film has the endearing knack of not taking itself too seriously.

This is one hero, for all his skill, who has been known to lose when launching himself gaily into battle against overwhelming numbers of his rival's henchmen; who takes his nom de guerre at the whim of a moment from the banner heading of an underground news-sheet; who shrugs off his enemy's imprecations and his lady's upbraiding both alike, with a merry grin; who clearly takes enormous enjoyment in sending himself up by playing the part of a foppish banker to deflect General Lanen's suspicions. In a nod to the Dumas original, the tool that gains him access to the General's plans and confidence is the prospect of a banking loan from the fabled Monte Cristo fortune, and despite his title the young Count is able to point out that, like Gurko Lanen, Edmond Dantes the elder was a self-made man.

For, if the hero is not entirely infallible - and all the more likeable for it - neither is the villain entirely without our sympathy. As we see in the opening scenes, Lanen is neither a fool nor a coward, and despite his cultured suavity he is the son of a stonemason, and proud of it; a gifted peasant who has dared to aspire, first to the rulership of his tiny country, then to the hand of the greatest lady in the land, the Grand Duchess herself. It is not a romance that the audience can possibly favour - the would-be suitor is too old, too brutal, too jaded to be a suitable match for young Zona - but it is hard not to wince at the haughty manner in which his courtship is dismissed. To this viewer at least, the proposal sounded genuine, evoking the old proverb that 'if she would not take him, still the lady might make him' - but any possibility for redemption is lost by the all-too-evident contempt of the Grand Duchess for the low-born upstart General.

(And I never could see why Baron von Neuhof's arrest for plotting to bring in Louis Napoleon's troops in order to return his own faction to power gets dismissed as "trumped-up charges", when Lanen's last-ditch resort to a similar bargain with the Tsar is trumpeted as a vile betrayal of his country....)

It's obvious from the start that this is one villain who is going to give the hero and his allies a run for their money; and so he does. Monte Cristo's flattery doesn't fool the General for an instant, though he is prepared to tolerate the fop as long as he remains useful, and the identity of the spy who ultimately betrays 'The Torch' has been skilfully established from the very first scenes. As soon as Lanen's suspicions are aroused he contrives, with only a little manipulation of those most loyal to his audacious guest, to discover both his secret identity and his concealed escape route in time to have him arrested and thrown in jail.

Ruthless and resourceful to the very last, Gurko Lanen keeps us gasping as he gambles everything to achieve his aims. Yet above all, it is Louis Hayward, in the irrepressible part of Edmond Dantes the younger (surely a kindred spirit of Simon Templar?) who really brings the picture to life. It will take all the wit and daring of an opponent as ingenious and endearing as the Son of Monte Cristo to stop the General... with a little help from Zona, who at the crucial moment yet again subverts the genre by saving herself!

Bloopers are few, although the Grand Duchess' achievement in adhering side-saddle behind her rescuer on the rump of a galloping horse is little short of miraculous, as is the apparent availability of sticky tape in 1865 for silencing the mouth of the Russian ambassador! During Lanen's balcony speech, a distant off-stage voice can faintly be heard prompting him line by line; while it's not beyond the bounds of possibility that the character would have had a prepared speech 'cued' to him in that situation, I somehow doubt that this was intentional :-)

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.