CRITIQUE – Martin Bourboulon signs a new nervous adaptation of Dumas’s novel. He inducts, in this first part, a host of leaping heroes and delightful supporting roles.
Dumas, always Dumas. It’s been a while. Inevitably, we always come back to him. We missed D’Artagnan. Here, he is resurrected in every sense of the word, since, given for dead at the beginning, we see him rising from the ground, saved by a missal having dampened the musket ball which was intended for him. Let’s go. The Gascon will not stop running, imitating the rhythm of the film which prances from A to Z.
The authors, Alexandre de La Patellière and Matthieu Delaporte, did not try to modernize the plot. These ancient heroes were enough for them. They only took a few liberties with the novel, inventing for example an attack against the king. All this is not serious, passes like a breath, refreshes the memory.
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Here are the four devils. They are dirty and unshaven like Sergio Leone cowboys. They constantly collide. Their schedule is jam-packed. D’Artagnan causes three duels in five minutes. Porthos interrupts his lunch because of the importunate…
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