The adventures of ebullient handsome defender of justice Jean de Pardaillan in the Paris of 1588. The sprightly Gascon knight first saves a beauteous Bohemian girl, Violetta, from abduction... See full summary »
Gianna Maria Canale,
Mexico, 1864. The country is divided by the struggle against the French occupation and emperor Maximilian. The German doctor Karl Sternau and his friend Andreas Hasenpfeffer come to love ... See full summary »
Set against the troubled period of the Wars of Religion in France, at a time when the three Henries (Henri III, Henri de Guise and Henri de Béarn) vied for the the throne, these new ... See full summary »
This 60s French-Spanish co-production has all the flaws of the genre: an opportunistic approach lacking a vision. It feels very routinely shot by a sloppy operator. The main cast does an OK job even though it verges on the wooden side quite often.
This mediocre movie would deserve a kinder approach if the story had tried better to stay away from Sabatini's. As such the story is much weaker while at heart the plot is almost the same. I understand that it was difficult to stem away from George Sydney's magnificent 1952 rendition since this MGM gem does everything right and is all at once a swashbuckling, romantic and comic and dramatic delight.
The Commedia dell' Arte character is a buoyant man of murky origins and it takes a lot of talent to invent something different than the Hollywood-Sabatini one. That is definitely asking too much from opportunistic European producers who are satisfied aplenty with shooting a story set in Paris at the very distinctive Burgos Cathedral.
I remember I enjoyed this movie when I was 8 and was really impressed and moved by the scene at the cemetery, but now I see this scene is one gigantic directorial failure, mixing buffoonery, fantasy, grief, vengeance and remorse. No wonder these co-productions didn't mind about craftsmanship but only about shooting the bits together.
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