Cast:
Michael York (d'Artagnan), Oliver Reed (Athos), Frank Finlay (Porthos), Richard Chamberlain (Aramis), C. Thomas Howell (Raoul), Geraldine Chaplin (Anne of Austria), Kim Cattrall (Justine de Winter), Philippe Noiret (Cardinal Mazarin), Christopher Lee (the Comte de Rochefort), Roy Kinnear (Planchet), Eusebio Lázaro (the Duke of Beaufort), Jean-Pierre Cassel (Cyrano de Bergerac), Alan Howard (Oliver Cromwell), David Birkin (Louis XIV), and Bill Paterson (Charles I) Directed by Richard Lester (#541 - A Hard Day's Night, #594 - A Funny Thing Happened on the Way to the Forum, #785 - Superman II, #786 - Superman III, #972 - The Three Musketeers, #976 - The Four Musketeers, and #1939 - Help!)
Review:
“I really won’t talk about The Return of the Musketeers, I never have and I won’t now. But I think you can draw your own conclusions.”
On April 19, 1989, The Return of the Musketeers was released into European theaters. Let us refresh ourselves by going back a few years. In 1844, the adventure novel The Three Musketeers [Les Trois Mousquetaires] was first serialized, as written by Alexandre Dumas and his collaborator Auguste Maquet, which was the first of three Musketeer novels between 1844 and 1847 (Twenty Years After and The Vicomte of Bragelonne: Ten Years Later); Dumas had been inspired by Gatien de Courtilz de Sandras and his memoirs of Charles de Batz de Castelmore d'Artagnan, an actual captain of the Musketeers of the Guard in the 1600s. Films have been done of the Musketeers since the early days of film, albeit mostly of the first book. At any rate, the Salkinds (Alexander and Ilya) had an initial idea of getting the Beatles to play the roles of the Musketeers for a film. Years went by (and, well, no Beatles to play the roles) before the Salkinds asked Richard Lester to do the film, who had not directed a film since The Bed Sitting Room (1969); noted novelist George MacDonald Fraser was hired to do the script. The Three Musketeers (1973) was filmed so heavily, that, well, clearly the Salkinds thought to pull a quick one and eventually tell the actors of the impending The Four Musketeers (1974) rather than having to strain hard to make one long film. So, now in 1989, was a return for Lester after his previous film had been Finders Keepers (1984). The Salkinds were not behind the production (in fact, they wouldn't let any old footage be used here), but Pierre Spengler, a producer involved with the previous two films, was there to produce this one; Fraser returned to do the script and a handful of cast members from the previous two films were there (even William Hobbs, who was behind the stage combat for the previous two films, returned). Lester has not been particularly keen on talking about the film too much in the 35 years since the release of this film, one that was both a trying production along with one that did not even get a proper American release (it was put on cable in 1991 for the States). Lester did one more project as a director with the 1991 concert film Get Back before essentially retiring (this was also the last screenplay written by Fraser).
The nature of Twenty Years Later basically entails that you won't really see all of the core of York, Reed, Finlay, and Chamberlain at once (the latter is credited as "special appearance by") all together at once. In fact, this was the last film to feature Kinnear, also returning from the previous two films (alongside Lee, Chaplin, and Cassel). On September 19, 1988, he suffered a horrific accident while on a horse that saw him fall off that saw him fracture his pelvis (while also having internal bleeding). The next day, he died from a heart attack while in the hospital. As such, seeing what a mix of him alongside stand-in shots (and a soundalike in parts) will probably be a bit jarring. The whole film is a jumble when it all comes down to assessment, but I would venture to say that a decent romp of yesteryear is more ideal to sit through once than not at all. They may be aged and may not be as big in star power as they were fifteen years ago, but it is hard to resist the qualities that come through most in York (if someone is compelled to do a voiceover, might as well be him) and Reed (when he is on, he is right there...), although at least Howell and Cattrall make for adequate newcomers to the smile game of adventure (one can't match Faye Dunaway exactly, but Cattrall at least seems to to be having fun trying). Finlay may be tired, but at least he has bits and pieces to contribute that go further than the "here is a scene there and here is one for the climax because I can" of Chamberlain or particularly Chaplin (you might say Lee is all too brief, but we* adore Lee being there at all). I particularly like the sequence involving a litany of traps within a rough-and-tumble fight that sees it go all the way to the foundation (literally). The clash of trying to play faithfulness to the source material goes to a point (for one thing, the threat was actually de Winter's illegitimate son, but even if this was a hit, would you have expected, say, another of these films where the Musketeers all die?), because there are moments where the strain of trying to keep up with its structure makes it nearly crash into pieces. As a whole, the 102-minute runtime makes for a fairly sustainable feature that deserved better than to be shuffled away as just a lower-release film or Lester's last hurrah, if only because there is something worth seeing with that spark of familiar wonder and chuckles.
Overall, I give it 7 out of 10 stars.
*"we" being me, myself, and I
Review #1447: The Towering Inferno.
