Monte Cristo (1929): A Grand, Old-School Vengeance Tale

Alright, so we’re talking about Henri Fescourt’s 1929 take on Monte Cristo here. This one isn’t for everyone, certainly not if you’re looking for a quick, modern fix. But if you have a soft spot for really old films and a grand revenge saga, it’s absolutely worth your time. Folks expecting quick cuts and perfect sound? You’ll probably find yourself a bit restless.

The story, you know it: Edmond Dantès gets thrown in prison for something he didn’t do, then he gets out and gets even. Raymond Narlay as Dantès really sells the initial innocence, which makes the betrayal sting that much more. His face just holds onto this wide-eyed belief in the world, then you see it slowly harden.

The early scenes where he’s just so happy, oblivious to the storm brewing around him, are pretty poignant. Delivering that letter, just doing a favor. The villains — Fernand, Danglars, Villefort — their plotting feels so petty at first, then it just escalates into something truly monstrous. The way they exchange those furtive glances is quite chilling.

Twenty years in prison. The film really leans into the *weight* of that time. Dark, shadowy sets, Dantès scratching marks on the wall. You truly feel the isolation.

His education by the Abbé Faria is where the narrative really finds its footing. You can almost see the gears turning in Dantès' mind, his transformation from a simple sailor into this calculating intellect. It's a powerful shift, all shown through his expressions and the very deliberate staging.

The escape itself, even for a film from nearly a century ago, is genuinely thrilling. The body bag, the stormy sea – you’re on the edge of your seat, really pulling for him. You just know he’s going to make it, and he’s going to come back.

Then comes the Count of Monte Cristo. His entrance is quite something, all sharp suits and an air of detached superiority. He’s just so incredibly *cold* and precise in his actions.

Marie Glory as Mercédès carries such a deep, quiet sorrow in her performance. Her eyes hold years of regret and loss. You can almost feel her recognition of Dantès, even under his elaborate disguise, which makes their few interactions quite heartbreaking.

The revenge isn’t about big, explosive set pieces. It’s methodical, almost surgical. He dismantles their lives bit by bit, financially and socially. There’s a scene where he simply manipulates some bonds, and the slow dawning panic on Danglars’ face is more impactful than any explosion. It’s **quiet ruin**.

Sometimes the pacing feels a little... *slow*, honestly. You get these long, stately shots of carriages rolling by or people walking through grand halls. But it also lets you soak in the atmosphere. The sheer scale of the sets for 1929 is genuinely impressive, from crowded streets to lavish parties.

There’s this one small moment, when Monte Cristo first really confronts Fernand, where Fernand still has this utterly undeserved air of arrogance. Monte Cristo just gives this tiny, knowing smile. It’s almost imperceptible. Fernand’s world is already crumbling, and he has no clue. That little smirk says everything you need to know. It’s a really **potent** piece of acting without words.

The acting style is definitely of its era. Big gestures, very dramatic expressions. It’s operatic, really. But it perfectly fits the larger-than-life nature of Dumas’ story. Don’t expect modern subtlety, and you’ll appreciate it.

Is it a flawless film? Nope. Some of the cuts feel a bit jarring, and the print I saw had its fair share of wear and tear. It adds character, sure, but you do find yourself squinting now and then. And it’s a long watch, so settle in for the journey. But for a film from that period, it’s a masterclass in visual storytelling.

Ultimately, it’s a truly *grand* old film. A bit of a time capsule. If you appreciate the early craft of cinema and a proper, old-fashioned vengeance narrative, you should absolutely seek it out. Go in with the right mindset, and you’ll find yourself utterly swept up in Dantès' epic and very dark tale. 🏴‍☠️