THE FIFTH MUSKETEER
US, 1979, 115 minutes, Colour.
Beau Bridges, Sylvia Kristel, Ursula Andress, Cornel Wilde, Lloyd Bridges, Olivia de Havilland, Jose Ferrer, Rex Harrison, Ian Mc Shane.
Directed by Ken Annakin.
The Fifth Musketeer is yet another reworking of The Man in the Iron Mask. it was a success in the '30s with Louis Hayward. It was remade in the '70s with Richard Chamberlain. There have been many other variations and spin offs. The production is lavish, there is a star cast. However, the screenplay is rather tongue-in-cheek and is a mixture of swashbuckle and send up. It stars Cornel Wilde as an ageing D'Artagnan assisted by such other Musketeers as Lloyd Bridges. The film also stars two sex symbols, Ursula Andress and Sylvia Kristel (Emmanuelle, Lady Chatterley). They have a chance to act as well as to be sex symbols! Beau Bridges is rather 20th. century American in the central dual role. Direction is by Ken Annakin who made such enjoyable films as Those Magnificent Men In Their Flying Machines, as well as several Disney entertainments of the '50s and '60s. In 1981 he filmed The Pirate Movie in Australia.
1. The popularity of Alexandre Dumas and his stories? Costume swashbuckling adventures? The number of remakes? The particular qualities of this remake?
2. European production values: 18th century decor and costumes, sets? Colour photography? Musical score?
3. The cast and its impact? The range of international stars: Beau Bridges and his American style? The European sex symbols? Ian Mc Shane and his British villainy? The screenplay also 'takes advantage' of the international reputations of its lady stars. Appropriate to this kind of film?
4. Audience familiarity with the basic plot? Response to swashbuckling adventures? Heroes? Integrity? The clash between good and evil? Intrigue and duplicity? The criticism of the 18th century pre-Revolution France?
5. Audiences' response to the mystery of The man in the Iron Mask? What if ... ? The presuppositions of coincidences, power and politics, vengeance, justice and injustice? Audiences responding to mystery and the perennial mystery of the iron mask man?
6. The focus on Louis and Philippe? Beau Bridges' style as each of the brothers? His build, presence, 20th. century intonations, American style? Philippe and his background, honest peasant stock, the nature of his education, lifestyle? The Musketeers in retirement and their efficient training of him? His being groomed as hero? The plan? The adventures? The red-blooded hero encountering the Infanta of Spain and the liaison with her? The mock humour of his impersonating his brother Louis? The build-up to the confrontation? Imprisonment? Rescue and escape? The denouement with his becoming King, marrying the Infanta? Becoming Louis XIV? The happy ending? The contrast with his performance as Louis: the fop, sadistic and cruel, self-centred, his magnificent manner in the palace, his relationship with his mistress, his relationship with the Prime minister? The attempt on his life? Deceit, callow? His cruelty in imprisoning his brother? The irony of his own imprisonment? Audience sympathy for the two brothers?
7. The picture of the Musketeers - memories of Cornel Wilde as a younger D'Artagnan? Audience knowledge of the Musketeers and their prowess? School, loyalty, training Philippe? Their ageing - but still able to perform heroics? Combat scenes, ambush? Their plans and being worsted? Philippe's escape? The confrontation with the Prime minister? Their range of contacts throughout the city? How well delineated as characters - and the actors' style?
8. Ian McShane's English style as the villainous Prime minister? Plots, power, struggles? The assassination attempt? The iron mask? His henchmen? Tortures? Intrigue and plotting? His defeat?
9. Sylvia Kristel as the Infanta - attractive, heroine, love for Philippe, her puzzle about the King, discovery of the truth? The use of the sex symbol in the historical swashbuckling film?
10. The contrast with Ursula Andress as the mistress? Her presence at court, glamour, schemes? Power over Louis? Her puzzle about behaviour? Her rejection?
11. Olivia de Havilland appearing as Philippe's mother? Her place in the court, her retirement to the convent, her concealing the truth about the twins, her admission of the truth, support of her son, presence at the end?
12. The picture of the French court and its wealth, luxury, assassination attempts, courtship and marriage, prepared marriages? The contrast with the rough country style? The intrigues in the city - inns, dungeons? A satisfying costume picture of the era?
