Though not all titles of the period are equal, it remains true that some of the greatest films that will ever be made hail from the silent era. Even outside of those utmost exemplars, there is a magical effervescence and joyful energy to silent cinema - to the common sensibilities of storytelling and film-making, and to the common style of acting - that makes them a real pleasure to watch. As this classic 1921 adaptation of Alexandre Dumas' most famous novel twists together drama, romance, and adventure with buoyant, playful wit and humor, it's impossible not to be enchanted as the tale advances. By that point just before the 40-minute mark when we get our first action sequence, if not before, and certainly from that point onward, 'The Three Musketeers' is so wonderfully charming and entertaining that we're wholly swept up in its wake. One can easily imagine this flick being memorialized in a modern-day love letter to the medium, like Damien Chazelle's 'Babylon,' and that alone says so much about its staying power. I adore this!
It's certainly the case that in keeping with the norms of the time Nellie Mason's editing typically accelerates the footage by some small percentage that's markedly unnatural, yet not to such an extent, here, as to jeopardize the tone or our suspension of disbelief. Even setting aside that idiosyncrasy, however, the picture carries itself with fabulous mirth and vitality that are altogether electrifying. Between the smart, seasoned direction of Fred Niblo in orchestrating every shot and scene and the deft, impassioned, lively acting of the cast this stays so vibrant at all points, whatever the tenor of a given scene, that the ensuing ten decades are wholly unable to dull its luster. Yet it's not just the direction or performances; even the adapted screenplay of Edward Knoblock, luminous star Douglas Fairbanks, and Lotta Woods bears terrific zest and cleverness. Informed by Dumas' 1844 masterwork, we're treated to sharp dialogue, robust and flavorful scene writing, and ebullient characterizations in a compelling plot of intrigue and daring-do in seventeenth century France. This is to say nothing of detailed, somewhat whimsical costume design, hair, and makeup; lovely, elaborate sets, many being downright gorgeous; and the splendid stunts and effects we see throughout, no few still coming across as keenly imaginative.
Bolstered by the superb contributions of all involved, that shrewd blend of drama, romance, action, and light comedy is a consistent, marvelous delight. Even many modern features, with all their advantages of updated techniques, technology, and sensibilities, are often unable to match the cheerful fun that 'The Three Musketeers' represents. Kind of emphasizing the point, the fact is that even as Niblo's romp is an earnest adaptation of the novel, it is characterized by no less boundless spirit and frolicsome ingenuity than Max Linder's 'The Three Must-Get-Theres' of 1922, an outright farcical spoof. Both works are absolute treasures, and funny, invigorating, and highly enjoyable, just in different ways as they tackle the same material from opposite ends. In all honesty this is such a blast that two hours fly past very quickly, and I could easily stand for this to be longer. In a time when many present-day new releases are self-indulgent with lengths nearly, exactly, or more than three hours long, the fact that the merriment of a silent flick feels too brief at two hours speaks very, very well to the stupendous skill and intelligence of all involved.
I assumed I'd enjoy it, and still this movie handily bested my expectations. It's fantastically well made across the board, and frankly its sprightly verve is nothing less than intoxicating. Everyone who participated in its creation is to be congratulated, and as Fairbanks served as producer in addition to starring and lending an assist in the writing, perhaps the credit is owed to him above all. With all this in mind I can understand how some modern viewers may have a harder time engaging with older cinema; I'd have said the same myself at one point. Yet this lark is such a tremendous gem that I must believe most anyone would find something to love in it, and that, too, speaks so well to the end result. Simply put, 'The Three Musketeers' is radiant as it continues to hold up even one hundred years later, and I'm thrilled to give it my very high, hearty, and enthusiastic recommendation to one and all!
It's certainly the case that in keeping with the norms of the time Nellie Mason's editing typically accelerates the footage by some small percentage that's markedly unnatural, yet not to such an extent, here, as to jeopardize the tone or our suspension of disbelief. Even setting aside that idiosyncrasy, however, the picture carries itself with fabulous mirth and vitality that are altogether electrifying. Between the smart, seasoned direction of Fred Niblo in orchestrating every shot and scene and the deft, impassioned, lively acting of the cast this stays so vibrant at all points, whatever the tenor of a given scene, that the ensuing ten decades are wholly unable to dull its luster. Yet it's not just the direction or performances; even the adapted screenplay of Edward Knoblock, luminous star Douglas Fairbanks, and Lotta Woods bears terrific zest and cleverness. Informed by Dumas' 1844 masterwork, we're treated to sharp dialogue, robust and flavorful scene writing, and ebullient characterizations in a compelling plot of intrigue and daring-do in seventeenth century France. This is to say nothing of detailed, somewhat whimsical costume design, hair, and makeup; lovely, elaborate sets, many being downright gorgeous; and the splendid stunts and effects we see throughout, no few still coming across as keenly imaginative.
Bolstered by the superb contributions of all involved, that shrewd blend of drama, romance, action, and light comedy is a consistent, marvelous delight. Even many modern features, with all their advantages of updated techniques, technology, and sensibilities, are often unable to match the cheerful fun that 'The Three Musketeers' represents. Kind of emphasizing the point, the fact is that even as Niblo's romp is an earnest adaptation of the novel, it is characterized by no less boundless spirit and frolicsome ingenuity than Max Linder's 'The Three Must-Get-Theres' of 1922, an outright farcical spoof. Both works are absolute treasures, and funny, invigorating, and highly enjoyable, just in different ways as they tackle the same material from opposite ends. In all honesty this is such a blast that two hours fly past very quickly, and I could easily stand for this to be longer. In a time when many present-day new releases are self-indulgent with lengths nearly, exactly, or more than three hours long, the fact that the merriment of a silent flick feels too brief at two hours speaks very, very well to the stupendous skill and intelligence of all involved.
I assumed I'd enjoy it, and still this movie handily bested my expectations. It's fantastically well made across the board, and frankly its sprightly verve is nothing less than intoxicating. Everyone who participated in its creation is to be congratulated, and as Fairbanks served as producer in addition to starring and lending an assist in the writing, perhaps the credit is owed to him above all. With all this in mind I can understand how some modern viewers may have a harder time engaging with older cinema; I'd have said the same myself at one point. Yet this lark is such a tremendous gem that I must believe most anyone would find something to love in it, and that, too, speaks so well to the end result. Simply put, 'The Three Musketeers' is radiant as it continues to hold up even one hundred years later, and I'm thrilled to give it my very high, hearty, and enthusiastic recommendation to one and all!