Le comte de Monte-Cristo

A honest, faithful to novel adaptation. This is the virtue of this mini series , like the beautiful performance of Jacques Weber, credible in his three roles - Edmond Dantes, the count of Monte Cristo, the father Busoni, proposing melancholical portrait of a revenger who feels be the instrument of God.

The clothes, the rooms, the dialogue, all are beautiful return to the masterpiece of Alexandre Dumas and useful support for reflection about justice and faith, about cowardess and the easy way to birth the terrible evil against other , having as tools fake illusion of self happiness.

For obvious motives, precious adaptation. Not the best, maybe not the memorable . But the profound useful one.

This is by far far the very best adaptation of The count of Monte Cristo, very true to the book, with superb Edmond Dantes - Jacques Weber, a jewel, unlike the 1998 minis with Gerard Obelix Depardieu(worst adaptatio never). Have seen this mini series in 1985 and trying to get a copy,with zero results (there is a German DVD, with German language only..maybe at the end I'll end up with it). Can't believe such masterpiece lays in dust with no possibility to see it again. Dantes is slim, dark hair as described in the novel, when you see it, all the characters appears the way you imagined them when reading the book..A must see (if you have the chance to..)

Condensing 50 hours of story into 5 hours of viewing is obviously very difficult.

The scenario is very faithful but certain scenes from the book useful for understanding are removed.

Overall, the acting is really bad. Weber as Dantès is terrible but makes up for it well in the role of the count, where he transcribes the great class and hidden emotions of the count, as described in the novel. Roger Dumas in Danglars also raises the average by perfectly interpreting the character as we imagine him.

The rest of the cast is terrible and seems to recite a text without any emotion, certain scenes become ridiculous and lose all the interest provided by reading the book.

I therefore strongly recommend reading the book before seeing the film, because without it, the experience will be tasteless, and will leave the impression of an old, uninteresting film, where prior reading will allow you to make the connection between the scenes and to enjoy the sets and costumes that put an image on the book.

This version of the Count of Monte Cristo will indeed remind of the book. It is both true to the descriptions of all the characters and includes all of the sub plots of the book with the ACTUAL ending of the book and not a made up one for the pleasure of the writers and directors (as has been the case on other versions). Jacques Weber is outstanding as the young Dantes who matures into the dark, cold and mysterious Monte Cristo. It is the ideal version and image of the count and the excellence of his acting in all of the various disguises as well as his overall command of the character , he dominates each scene he is in. Excellent cast overall and excellent production values. See it if you can!!

I caught this mini-series from downloads of episodes on e-Mule, which themselves were recordings of a broadcast on a channel called "Festival".

Weber absorbed himself into the Action Man Dantes, the superbly "Eton-French" Wilmore, the creaky, learned Busoni, but most of all, the pallid and languid Monte Cristo. Although the dialogue is in French with no sub-titles, even the limited French speaker will receive enough from the diction to understand a lot of what goes on (although reading the novel will also help greatly).

Is Roger Dumas, the actor playing Danglars, any relation to the author of the novel?

The six-part mini-series follows the novel painstakingly, and therefore suffers from the problems of some of the coincidental events that make the novel's secondary plot lines a little tenuous - for example: engaging Haydee as his companion before he knew of her connection with Morcerf; his servant Bertuccio happening to be the witness of De Villefort's burial of the "stillborn" Benedetto.

Nevertheless the acting excels: to my mind, the test is how your visualisation of the novel matches what is played out on the screen. To my mind, it did.

In comparison, the Depardieu effort twenty years later is somewhat contrived; attempts to improve the plot lines do not convince, and the ultimate betrayal is in the Hollywood-style cop-out of Dantes carrying off Mercedes at the end.