THE FOUR MUSKETEERS, the second half of Richard Lester's brilliant adaptation of Dumas' THE THREE MUSKETEERS, carries on the manic adventures of D'Artagnan (Michael York), and his comrades (Oliver Reed, Richard Chamberlain, and Frank Finley), and offers deliriously comic moments (a picnic in the midst of a siege is a comic highlight), but in being faithful to the novel, a necessary but tragic thread runs through the plot, with the deaths of key characters tempering the joy of the ultimate resolution.
Because the film wasn't intended to 'stand on it's own', certain elements had to be added, to make the story more cohesive. The most obvious addition is a voice-over introduction by Porthos (Frank Finley), who reminisces about the events on screen. The choice of Finley is a wise one, as he was the most accessible of the characters in the first film, and his "blissfully ignorant" attitude keeps his opening and closing monologues a 'tongue-in-cheek' joy.
Politics and intrigue are the order of the day, as Cardinal Richelieu (Charlton Heston, still sleekly villainous) continues his machinations to eliminate French Protestants, and his major opponent, England's Prime Minister, the Duke of Buckingham (Simon Ward). A key player in 'the game' is Milady de Winter (Faye Dunaway, in one of her best roles), who agrees to eliminate Buckingham, if Richelieu will pardon 'in advance' her plans to murder D'Artagnan and his ladylove, Constance (Raquel Welch). The note he signs would become a key element of the story.
Hoping to protect Constance, D'Artagnan sends her to an Abbey, then impetuously begins an affair with de Winter, not realizing the woman's ultimate goal. Only the discovery of a 'Fleur-de-Lis' tattoo on her arm, branding her a 'harlot', saves the boy, as it unbalances the woman long enough for him to temporarily subdue her, and escape. The news of de Winter's brand exposes Athos' aristocratic past, and reason for his alcoholism.
Just as Van Heflin's interpretation of Athos during this key scene in the 1948 THREE MUSKETEERS was the film highlight, the flashback to a younger, clean-shaven, and dashing Oliver Reed, and his betrayal by Faye Dunaway, who would be branded for her crime, is a high point in the 1974 production. Milady is a calculating, insensitive monster, and as the depth of her potential for evil becomes known, the darkness that is introduced nearly overcomes the film. With a cunning almost feral, she ruthlessly arranges the death of Buckingham, then takes care of Constance personally. Finally captured by the four Musketeers, her doom, while justified, is a jarring counterpoint to the earlier adventures of the happy-go-lucky quartet.
Yet the four comrades survive, and with the possession of Richelieu's note to Milady, are not punished for their actions, but granted extraordinary rewards by King Louis. Richelieu himself is impressed by D'Artagnan's amazing talent and luck, and arranges a promotion for the young Gascon.
As the four friends leave the Palace, facing far different futures, Porthos reflects on the camaraderie of the friends, and through flashbacks, we are reminded of the glorious adventure we've shared with them.
THE THREE and FOUR MUSKETEERS are a crowning achievement in Richard Lester's remarkable career, capturing a 'feel' that no other Dumas' adaptation has ever come close to. While the sequel may lack the unrestrained 'joy' of the first film, when seen together, the overall impact of the saga is unforgettable.
They don't come any better than this!
Because the film wasn't intended to 'stand on it's own', certain elements had to be added, to make the story more cohesive. The most obvious addition is a voice-over introduction by Porthos (Frank Finley), who reminisces about the events on screen. The choice of Finley is a wise one, as he was the most accessible of the characters in the first film, and his "blissfully ignorant" attitude keeps his opening and closing monologues a 'tongue-in-cheek' joy.
Politics and intrigue are the order of the day, as Cardinal Richelieu (Charlton Heston, still sleekly villainous) continues his machinations to eliminate French Protestants, and his major opponent, England's Prime Minister, the Duke of Buckingham (Simon Ward). A key player in 'the game' is Milady de Winter (Faye Dunaway, in one of her best roles), who agrees to eliminate Buckingham, if Richelieu will pardon 'in advance' her plans to murder D'Artagnan and his ladylove, Constance (Raquel Welch). The note he signs would become a key element of the story.
Hoping to protect Constance, D'Artagnan sends her to an Abbey, then impetuously begins an affair with de Winter, not realizing the woman's ultimate goal. Only the discovery of a 'Fleur-de-Lis' tattoo on her arm, branding her a 'harlot', saves the boy, as it unbalances the woman long enough for him to temporarily subdue her, and escape. The news of de Winter's brand exposes Athos' aristocratic past, and reason for his alcoholism.
Just as Van Heflin's interpretation of Athos during this key scene in the 1948 THREE MUSKETEERS was the film highlight, the flashback to a younger, clean-shaven, and dashing Oliver Reed, and his betrayal by Faye Dunaway, who would be branded for her crime, is a high point in the 1974 production. Milady is a calculating, insensitive monster, and as the depth of her potential for evil becomes known, the darkness that is introduced nearly overcomes the film. With a cunning almost feral, she ruthlessly arranges the death of Buckingham, then takes care of Constance personally. Finally captured by the four Musketeers, her doom, while justified, is a jarring counterpoint to the earlier adventures of the happy-go-lucky quartet.
Yet the four comrades survive, and with the possession of Richelieu's note to Milady, are not punished for their actions, but granted extraordinary rewards by King Louis. Richelieu himself is impressed by D'Artagnan's amazing talent and luck, and arranges a promotion for the young Gascon.
As the four friends leave the Palace, facing far different futures, Porthos reflects on the camaraderie of the friends, and through flashbacks, we are reminded of the glorious adventure we've shared with them.
THE THREE and FOUR MUSKETEERS are a crowning achievement in Richard Lester's remarkable career, capturing a 'feel' that no other Dumas' adaptation has ever come close to. While the sequel may lack the unrestrained 'joy' of the first film, when seen together, the overall impact of the saga is unforgettable.
They don't come any better than this!