Alatriste

I went to see this movie without reading the books first and with only a vague knowledge of the historical events the novels are based upon. Apparently, the director thought that it would be a good idea to condensate the five Alatriste novels in a single film, in order to give depth to the characters. A big mistake. The pace is for the most part too fast and anecdotic, and the action jumps from here to there without ever giving a clear reason why everyone behaves the way they do, from the romantic plots scattered along the movie to the great political conspiracies. It is never very clear either why Alatriste, who is little more than a soldier and hired assassin, is so important to so many people of high rank.

In spite of all this, I cannot give the film a bad rating because it is certainly a pleasure to watch. The technical aspects, the general "look" of the film, the music, and the acting are splendid. The casting can be a controversial point, but the chosen actors do wonders.

It's big-budget, it boasts extras by the planeload, and a broad historical panorama: it's all about intrigue, loyalty, love, and loads of a real man doing what a real man's gotta do. This is the Spanish film industry's most serious attempt yet to break into the mainstream international market, and Viggo Mortensen's brooding, laconic Alatriste makes a convincing bid for the job. A heroic figure despite himself, Alatriste is the poor bloody footsoldier whose unquestioning courage provided the flesh and blood foundations of the Siglo de Oro, the golden age of the early 17th Century when the Spanish crown laid claim to half of western Europe.

In scuffed boots and floppy fedora, Mortensen cuts an attractive figure in an amoral, down-at-heel sort of way: women are prepared to leave their husbands for him, men fight for the privilege of dying at his side. We are led, or perhaps bullied, on an epic sweep through the muck and bullets of Spain's military meddling in its neighbours' affairs, seen through the jaundiced eyes of Alatriste and his fellow hired hands. Death is a constant presence; if you're not torn apart by a cannonball on the battlefield, or knifed in a dark alley, it may well come for you in the shape of the Inquisition – and in which case, you might be better off cutting your own throat.

We cut frantically and frequently back to the Spanish court, where the grandees plot and connive, and we just know that someone inconvenient is about to get dispatched to the colonies at the very least. Here, Alatriste's glint-eyed soldier's determination gives way to the quizzical gaze of a hard man out of his depth, as matters of State are signed and sealed on oaken desks. Watch your back -- you get the impression that the most blood-sodden battlefield is a far safer place to be.

The film covers a massive swathe of turbulent European history, some three decades of a long Spanish Catholic struggle against the Protestant heretics of the Low Countries. And this, perhaps, is the film's greatest flaw – the screenplay is a pull-together of some of the most dramatic episodes from a clutch of Arturo Pérez-Reverte's Captain Alatriste books, and the joins show badly. Sub-plots come and go in a tangle, and the film develops its undoubted dynamism from a regular dripfeed of another bit of swashbuckling, or whispered courtly dirty deeds, rather than the convincing development of any interplay between the characters themselves. For such a valiant warrior, poor Alatriste doesn't seem to have much say in his destiny.

That said, the film looks fabulous, from the opening misty waterlogged shots off the Flanders coast, to the final crunching battle of Rocroi. Director of Photography Paco Femenia -- responsible for the similarly atmospheric Carmen and Juana la Loca -- takes his inspiration from the contemporary canvases of Velásquez to evoke an atmosphere painted in rich earthy tones; the camera conveys the glittering sterility of the Spanish court as tangibly as the dirt that Alatriste and his ever-dwindling band of chums are forced to eat – so often without pay -- to enable their lordships to live in the appropriate style.

The film, at two hours and 20 minutes, rattles along well, but is too long. If only director Augustín Díaz Yanes had the faith in the attraction and bankability of his lead character to take a deep breath, and slice the action up into more manageable chunks: a trilogy, even. Why not? Everybody else seems to be doing it, and so often with inferior material to this.

XVII Spanish Century is too rich to be told in two hours and a half, and that's what the film has tried. Perhaps too many characters that unable us to be identified with them. Alatriste is too many things in just one: the brave, the hard, the rebel, the lover, the good father... but far from us. I don't think it is Viggo's problem. If you read the novels you will find the same lack. Although we have expected more of this film, it would be unfair to say that this film is not worthy watching it. Actors are great, also wigs and customs (sometimes Spanish people cannot forget them without wigs!). Battles and photography are excellent. The films' atmosphere is much more better than other history films, the fog, the use of light. Go, watch it and make your opinion!

The film concerning captain Alatriste (Viggo Mortensen), a Spanish soldier turned into mercenary . The picture is developed through the Spanish empire which took a time for the decadence and downfall , however during century XVII it was a battleground for rival powers : Luis XIII with his favorite Cardenal Richelieu who are backing Flandes independence against Philip IV and his Count Duke Olivares (Javier Camera) . The movie is set throughout the ¨Thirty years war¨ (1618-1648 ) between Catholics and Protestants which finished in the treatise of Westfalia . The flick describes various events and battles from the epoch as the ¨Breda surrender¨(in 1625 and Spanish army commanded by Ambrosio Spinola) that imaginatively is brought the life on the famous Velazquez picture , as the ¨Rocroi battle¨ (1643) which signified the fall Spanish main and pretty well filmed in spectacular and violent images as the last stand for the imperial Tercios .

Scenarios are breathtaking but no the plot , it is slightly confusing with some flaws ; besides , being sometimes slow-moving that makes it a bit tiring and dull . Screenwriter-director Agustin Diaz Yanes tried to condense the five novels from Arturo Perez Reverte in a runtime of two hours and some but it is a little embarrassment . However , the production design including palaces , streets , slums , homes , canteen , rooms are sensational and realized by the great designer Benjamin Fernandez who has got a successful American career (Man of fire , Uprising , Enemy of State). Painting-photography and colorful cinematography by top-notch cameraman Paco Femenia (Juana la Loca) though a little dark and excessive use of interior . In addition , brilliant and luxurious costume design was made by Francesca Sartori , she is a great specialist on Italian costume films . Atmospheric and sensitive music score by Roque Baños (The machinist , Crimen Ferfecto , 800 bullets) is finely fitted to the story . The motion picture was well directed by Agustin Diaz Yanes , as it is entertained for the Spanish history buffs . At a cost of 24 million Euros, this is the most expensive Spanish film ever made. Director Agustin called that amount enough for 'a European super-production and an American rubbish-production'. Agustin Diaz Yanes has directed some good films such as ¨Don't temp me¨, ¨Solo Quiero Caminar¨ and ¨Nadie Hablara con nosotras cuando Hayamos Muerto¨ . Rating : Acceptable picture , well worth watching

I enjoyed Alatriste; it's not your typical fast-paced Hollywood action flick (if you go see it expecting something of the sort, you'll probably be disappointed and bored) and the plot is not too clearly defined, but it has an excellent cinematography and costume design that recreate Velazquez's Spain, and most of the actors are very good. Mortensen is an awesome Capitán Alatriste despite his slight accent. You can see he took this role very seriously. He fits perfectly into the roguish, ruthless but noble character's skin. The sword fights are nicely choreographed. The atmosphere of seventeen-century Spain and the historical context are superbly recreated. Actually, I find there are interesting parallels between the decay of the Spanish Empire and present day United States, between the "tercios" and the US Marines.

I recommend this film highly to anybody who's interested in period films, or who likes Mortensen as an actor.