Screenwriter George Bruce concocted a pastiche with affection in this film, wherein each scene and, indeed, each read line of dialogue is parodic in nature, although the work is so well crafted and edited that it has been accepted as simply an example of a swashbuckling adventure featuring some major studio players, including Louis Hayward and Joan Bennett. The plot involves a contest between Hayward, as the Count of Monte Cristo, and the redoubtable George Sanders as his rival, Gurko Lanen, for the hand of Bennett, who portrays Zona, Grand Duchess of the imaginary Balkan state of Lichtenburg, during the mid-nineteenth century, and ancillary issues involving Lanen's craving for the small state's throne. The three leads give full-bodied performances with straight-forward interpretations appropriate to a pastiche, while Hayward's rapid-fire intonation and expressions create a unique characterization, contrasted nicely with Sanders' satiny villain, all supported well by numerous Hollywood stalwarts, notably Ian Wolfe, Montague Love and Clayton Moore. Direction by Rowland W. Lee perfectly matches the clever Bruce scenario, and the cinematography by George Robinson, production design by John Schulze, set decoration by Edward Boyle (the latter two Academy award winners for their efforts) and the Saturday matinee serial music of Edward Ward are about as pertinent as can be imaginable, while the excellent print enhances a neatly packaged tale of derring-do.
Review of The Son of Monte Cristo
