Os Três Mosqueteiros

The Hollywood of the classic studio system is not known for its kindness in adapting great literary works. Often overwrought or oversimplified, cut down or bastardized, the movie versions rarely capture the essence or the form of the books they pretend to adapt.

This one is exceptional. Both the pathos and the verve of the Dumas novel (itself a roman-feuilleton - a serial- which it is rumored Dumas didn't actually write) are wonderfully captured, and Kelly is the dream D'Artagnan. Every bit of physicality and fun that he brought to his choreographies in the musicals is used beautifully to bring grace and energy to the duels. The humor of the star is used quite brilliantly. Compare the toungue-in-cheek pastiche THE DUELLING CAVALIER in SINGING IN THE RAIN with this earlier work. Look up a few of his directorial efforts (The Cheyenne Social Club) with the humor here.

Each fan of Dumas will have his favorite version of THE THREE MUSKETEERS, but we all must agree this is a noble and (overall) successful effort.

Still a spectacular and fun movie and an adaption of the work by Alexandre Dumas that got the spirit of the writings. The cast with Gene Kelly, Lana Turner and Vincent Price among others is superb. Still a movie to dream and one of my favorites regarding the adventures of D'Artagnan. Athos, Aramis and Porthos. Top movie for the whole family.

"The Three Musketeers" is an adaptation of Alexandre Dumas' novel of the same name. The film features sweeping scenes, bright costumes and classical themes. Gene Kelly does well in an energetic performance as D'Artagnan. The rest of the cast is solid as well, particularly Lana Turner and Vincent Price as the scheming villains.

The film features a number of sword fights which are well staged, but become repetitive. The filmmakers tried to balance the action scenes with the intrigue of Dumas' novel. This was welcome, but I found the film had tedious stretches and didn't completely capture the excitement of the novel.

The true test of a filmed version of a famous novel is not how close the action is to the plot of the book - it's whether it's faithful to the spirit of the original, and above all, whether it *works*. I didn't think casting Gene Kelly as a non-singing, non-dancing D'Artagnan would work: it does. I didn't think censoring the religious references to suit the US market would work - it does. I didn't think this could possibly rival the 1974 Lester/Macdonald Fraser version... well, I'm still not sure about that one, but it's an unexpectedly close call.

Without any question, the outstanding performance in this film is that of Gene Kelly. His athleticism, unsurprisingly, is marvellous, his swordplay is dazzling - but most importantly, as an actor his characterization of the impetuous, susceptible, hot-headed but good-hearted young Gascon is spot on the mark. He plays the part with a humour and charm that leave us likewise loving and laughing in his wake, and the only character with a chance of upstaging him is that truly preposterous yellow horse... a piece of type-casting if ever I saw one!

Perhaps the most disappointing performance, in contrast, is Van Heflin as Athos, the high-minded musketeer who drinks to find oblivion from a dark secret in his past. This Athos is a sullen peasant rather than a tragic nobleman, perhaps because the scriptwriters chose to demote him from Comte to Baron de la Fere. He has none of the charisma that should have been brought to the part, and it's often hard to understand why his three companions put up with him.

The fight scenes are excellently staged, as is to be expected in a precursor of 'Scaramouche', but I personally did feel that they went on for a little too long. Likewise, Anne of Austria was wonderfully imperious, but not as beautiful as the legend would have her. Constance Bonancieux, by contrast, gets a much larger part in this version than in Dumas' novel - and a somewhat less sleazy relationship with the young lodger - and makes the most of it.

The pivotal change in the plot during Milady's stay in England features Constance to a large extent, and is in my opinion actually very effective. The fact that even those of us who know the source material inside out have no idea *how* the inevitable is going to happen increases the tension enormously, and the change of emphasis to the relationship between the two women, rather than the seductive act we have seen several times before, gives both actresses a fresh chance to shine.

Richelieu, shorn of his Cardinal's title to avoid Church offence, has relatively little to do in this version, and D'Artagnan's nemesis Rochefort barely appears at all, though both actors make the most of what screen time they have. There is an effective scene at the end (again, owing nothing to Dumas) where Richelieu reminds the King of his dominion as the power behind the throne, only to save face in a graceful manoeuvre as Louis XIII temporarily asserts himself: we are quite certain that the King will soon be back under his thumb.

Overall, I was very impressed by the way in which this film captured the roistering, sometimes raucous, sometimes melodramatic spirit of its source material. Reading other people's comments about the silent version starring Douglas Fairbanks, I only wish I were likely to get the chance to see that as well!

Gene Kelly's athleticism which is usually on full display in his musical films is given full reign in MGM's big budget adaption of The Three Musketeers, a tale very often told on the big screen. Personally I don't think the movies ever got it quite right, especially when none of the three best actors suited to play D'Artagnan, Errol Flynn, Tyrone Power, and Douglas Fairbanks, Jr. never got a crack it on the big screen.

The Seventies had an all star epic filming of the Alexandre Dumas classic, but I'm betting that Richard Lester so wished he had all his players under contract to the same studio as Louis B. Mayer did. Look down the cast list, Mayer barely went outside his studio for a player.

I don't think I have to relate any of the plot, one of the most familiar in the world. Gene Kelly fresh off the farm from Gascony with the usual bumptiousness associated with folks from that area of France gets himself in hot water with three Musketeers of the King's personal guard Van Heflin, Gig Young, and Robert Coote. But before fighting any duels with them all three join forces to defeat and send packing some of Cardinal Richelieu's guards. The other three like Kelly's style and he's a musketeer from then on.

That particular duel is choreographed as Kelly would do in any of his numbers in his musicals. It's so good I expected a song to be coming forth almost any minute. This is where Kelly the dancer and choreographer gets to shine.

The rest of the cast is of high quality with Frank Morgan as King Louis XIII, Angela Lansbury as Queen Anne of Austria, Vincent Price as the clever Richelieu, Ian Keith as Price's attack dog Rochefort, Lana Turner as Milady DeWinter who attacks in other ways for Richelieu, June Allyson who's a little too much like her Americanized girl next door as Constance for my taste, John Sutton as the English Prime Minister the Duke of Buckingham, and Keenan Wynn as the loyal if not too bright servant of D'Artagnan.

Milady DeWinter is one of the most evil women in literature and Lana Turner was up to the job. Watching her it's like she channeled back her performance in The Postman Always Rings Twice for this role.

I was curious however that I could find no reference in the film to Richelieu being a Cardinal. In the film he's simply referred to as Richelieu. Note there is no trace of any clerical garb on Vincent Price. My guess is that MGM didn't want to offend the Catholic Church by having a prince of said church shown as the villain. Also as the Cold War was going into deep freeze, Pius XII and his church were seen as an anti-Communist bulwark.

Though I wish that one of the three stars I cited above had ever gotten to play D'Artagnan, The Three Musketeers from MGM in 1948 is not a bad version and Gene Kelly's fans will enjoy it immensely.