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''The Count of Monte Cristo'' is a 2002 film ([[AdaptationOverdosed one of many]]) based on [[Literature/TheCountOfMonteCristo the novel of the same name]] by Creator/AlexandreDumas. It stars Creator/JimCaviezel as the title character, and also Guy Pearce, James Frain, Luis Guzman, and Richard Harris. And a young Creator/HenryCavill.
----
!!This film provides examples of:
* ActionizedAdaptation: The original book has very few action scenes, with two duels interrupted before they can begin. The film adds a bunch of sword and knife fights, including a climactic duel between Edmond and Fernand.
* ActuallyPrettyFunny: Faria bursts out laughing when he realises he's spent five years digging a tunnel in the wrong direction.
* AdaptationalHeroism: The Count's schemes result in a ''lot'' less collateral damage than in the novel.
* AdaptationalVillainy:
** The warden of Chateau d'If, named Armand Dorleac in the film, is depicted as a sadist who tortures prisoners as part of an annual rite, despite the fact that he knows perfectly well that all the prisoners in Chateau d'If are innocent. In the book he did no such thing, never gave any indication of knowing his prisoners were innocent, and didn't even put Dantes in isolation until after a violent outburst on his part.
** Fernand was already an unscrupulous serial traitor in the book, but the movie goes out of its way to make him as deeply repulsive as possible -- in the book, he and Edmond weren't friends to begin with, so the betrayal was not as deeply personal. The book's Fernand was also not explicitly unfaithful to Mercedes, nor did he routinely challenge people to duels for sport; he also did not show as much disdain for his son Albert. The book's Fernand was also not a born aristocrat, so he lacks the classist tendencies of the film character.
** In the novels, Villefort is ashamed for sending Dantes to prison in order to secure his ambitions. His guilt over this (as well as some of his other crimes) eventually breaks him. The film version has no such remorse and even [[spoiler:kills his own father]].
* AdaptationDistillation: Inevitably given its size, large swathes of Dumas's novel are omitted or trimmed. Prominent characters such as Caderousse, Haydée, Franz d'Epinay, Benedetto, Bertuccio and Ali are also omitted. Nonetheless, it keeps to the plot and themes of the novel admirably.
** To be entirely honest some of the minor characters appear as one-shot cameos or become combinations of such. For example, we get a glimpse of Albert’s three friends, with whom he goes to Rome, who, most likely, are based upon Franz d’Epinay, Beauchamp and Debray. We can also see a black servant among the Count’s retinue, who is probably supposed to be Ali. Also, Jacopo in the movie is the combination of the novel’s Jacopo and the Count’s majordomo Bertuccio. Villefort’s wife name is Valentine, which was the name of his daughter in the novel.
* AdaptationNameChange: Monsieur Clarion was "Noirtier" in the novel.
* AntagonisticOffspring: [[spoiler:Albert confronts Dantes, though neither of them are aware of the relationship at that time.]]
* AntiHero: Edmond, as The Count, starts off as a NominalHero, only heroic at all because he's using his deplorable tactics to gain vengeance on the men who condemned him to false imprisonment. However he graduates to UnscrupulousHero at the end when he remembers his mentor's words and offers Mondego the chance to leave with his life. [[spoiler:He doesn't take it.]]
* AscendedExtra: Jacopo, who obeys the Count's instructions without question in the book, becomes TheWatson. Jacopo also serves as a CompositeCharacter, merged with Monte Cristo's faithful servant Bertuccio.
* BeardnessProtectionProgram: The Count trims his prison beard as part of his noble disguise. Noteworthy because of how effective it is. Upon returning to exact his revenge, Dantes is able to fool Villefort (who admittedly only met him once), his longtime employer Morrell and his lifelong friend Mondego. Only [[spoiler:Mercedes]] recognizes him. Mondego actually doesn't recognize him 'til he shaves.
* BigDamnHeroes: Deliberately invoked by The Count when he rescues Albert.
* BodybagTrick: Taking the place of Faria's corpse in a body bag (subsequently being thrown off a cliff into the ocean).
* BondOneLiner: An unusual variation, as it is exchanged while the victim is still dying from their wounds.
-->[[spoiler:'''Fernand:''' What happened to your mercy?]]
-->[[spoiler:'''Edmond:''' I'm a count....not a saint.]]
* BondVillainStupidity: Fernand and Villefort's frame up would likely have gone perfectly if they had just had Edmond executed as stated rather than thrown in prison for the rest of his life. This was already a VillainBall in the novel, but the film escalates it into ForTheEvulz levels, since the prison here is implied to be little more than a corrupt torture chamber they and other corrupt aristocrats dump their scapegoats so they can suffer.
* CallBack: How Mercedes realizes that the Count is Edmond, given his habit of twirling his hair.
* ChessMotifs: Edmond and Fernand have a chess king that they trade back and forth when the other has a victory, recognizing the other as "King of the Moment". Edmond explains this to Napoleon Bonaparte, who observes that "In life, we are all either Kings or Pawns." This becomes {{Foreshadowing}} for later, when Fernand refuses to give up the king piece to Edmond after Mercedes accepts his proposal. Fernand soon after makes Edmond a pawn in his machinations.
** Fernand then gives Edmond a king piece as Edmond is dragged away, to "remember better times." When they next meet, Edmond manipulates Fernand in turn, ultimately winning.
* ContrivedCoincidence: Abbe Faria, the sole living man who knows the location of the treasure of Monte Cristo, tunneled his way into Dantes's cell by accident.
* DeathByAdaptation: [[spoiler:Clarion, who is Villefort's father.]] It was something of a running gag in Dumas's novel that he was virtually indestructible.
* DefeatMeansFriendship. When Edmond defeats Jacapo in their knife duel, the latter swears eternal loyalty after his defeat.
* DialogueReversal: "Why are you doing this?" "It's complicated."
* DidYouActuallyBelieve: The Count's final words to Villefort.
-->"You didn't think I'd make it that easy for you, did you?"
* DuelToTheDeath: Several added to the script.
* EarnYourHappyEnding: [[spoiler:After being betrayed by his jealous friends on the eve of his wedding and condemned to spend years in a dungeon by a self-serving prosecutor, and then learning that his grief-stricken father committed suicide and his beloved fiancee married his enemy,]] Dantes would be forgiven for feeling [[Film/WhiteHeat on top of the world]] [[spoiler:as he left the Chateau d'If for the last time with his true love, his son and his best friend at his side, the vast Spada fortune in his possession, and having exacted sweet revenge on his betrayers]].
* EngineeredPublicConfession: The Count engineers one for [[spoiler:Villefort]].
* EvilStoleMyFaith: The despairing title character gives up all hope in God, having been unjustly incarcerated in a harsh French prison for several years.
* {{Flynning}}: PlayedWith. Most of the sword fighting in the movie is straight-forward Flynning, but the climactic duel between Edmond and Fernand shows Edmond using some legitimate unarmed defenses, like batting away Fernand's sword with his gloved hands, and blocking a strike with his arm (which shows, accurately, how useless rapiers are for slashing).
* GoodAdulteryBadAdultery: Edmond sleeps with Mercedes, who is married to Fernand.
* HellholePrison: Château d'If.
* HistoricalDomainCharacter: Cameo appearance by UsefulNotes/NapoleonBonaparte.
* HollywoodAtheist: Dantes loses his faith on account of his unjust imprisonment (and then regains it at the end of the film). This is a contrast to the novel, in which Dantes is still religious as the Count -- he just worships a ''very'' vengeful God.
* HopeSpot: Villefort realises Edmond is innocent and is actually about to release him. Then he finds out that the intended recipient of Napoleon's letter was [[OhCrap his own father]].
* HumanLadder: The priest asks to stand on Edmond's shoulders to see out a window for the first time in decades.
* INeverToldYouMyName: "Edmond Dantes is dead." Mercedes never told "the Count" Edmond's last name. Whoops.
* InTheLocalTongue:
-->'''Luigi''': We shall call him... Zatarra.\\
'''Edmund''': Sounds fearsome.\\
'''Luigi''': It means "driftwood".
* IronicEcho:
** "Why are you doing this?" "It's complicated."
** "I'm a count, not a saint."
* LargeHam: A gleefully sneering Guy Pearce as Fernand.
* LeaveBehindAPistol: {{Subverted}}. Dantes leaves [[spoiler:Villefort]] a pistol, but [[spoiler:it isn't loaded]]. The DVD reveals that they shot versions of the scene both ways, with [[spoiler: the sound of a gunshot coming from the carriage]] as the Count simply walks away.
* LooksLikeJesus: Dantes in prison, eventually.
* LukeIAmYourFather: [[spoiler:Dantes to Albert. Neither of them are aware until Mercedes does TheReveal.]]
* MeaningfulEcho: "I'm a count, not a saint."
* MeaningfulName: Abbé Faria ("The Mad Priest"). Notable in that since he hasn't had a conversation during the length of his entire sentence in the prison, he must have given this name to himself.
* MentorOccupationalHazard: Faria dies in prison after years of helping Edmond dig a tunnel and educating him in the arts and in combat. But his death provides Edmond with a quicker means of escape by taking the place of his wrapped-up corpse.
* ModestyBedsheet: Mercedes gets one. Justified in that she's concealing her naked body from the manservant of her lover, and not her lover himself. Averted in that once said manservant gives her favorable news, she suddenly cares not for preserving her modesty.
* NiceGuy: Albert is an idealistic young boy with none of the treachery of his father, making one marvel that he is Fernand's son. [[spoiler: As it turns out, he's not.]]
* NeverLearnedToRead: The first thing Faria has to teach Dantes, though he could already read in the book.
* NoDoubtTheYearsHaveChangedMe: Besides having an entirely different body build and almost certainly having somewhat changed the shape of his face (losing pretty much all of your body fat will do that), the dark, dangerous, and self-assured Count also doesn't speak, move, or act anything like gentle, sweet, nervous Edmond Dantes.
* NotHisSled: The aforementioned LukeIAmYourFather moment. In the original, [[spoiler:Albert is indeed Fernand's son and not Edmond's]].
* NumberOneDime: A chess piece has sentimental value to Edmond and Fernand.
* PhysicalScarsPsychologicalScars: The scars on Edmond's back that he received from being repeatedly lashed in the Chateau D'If represent how his time in prison embittered him.
* PragmaticAdaptation: Many aspects, including the relationships between major characters and the ending, have been changed, simplified, or removed; and action scenes have been added. The main themes of the story are intact. Given that this is an adaptation of a 440,000+ word novel, this is probably for the better.
* PrisonsAreGymnasiums: In the book, the priest's lessons were purely academic. In the film, he also teaches Dantes fencing... well enough to win two fights during his escape.
* RagsToRiches: Dantes, who progresses from second mate of a trading ship to the wealthy Count of Monte Cristo.
* RoaringRampageOfRevenge: The movie is adapted from the TropeCodifier.
* SaunaOfDeath: A scene with Villefort and the Count takes place in one of these.
* SlowClap: Abbé Faria does this when Dantes realizes the reason Villefort burned the incriminating letter and imprisoned him right after acquitting him of the charges.
* SpitefulSpit: Fernand does one to [[spoiler: Edmond as he goads him to finish him]].
* SpottingTheThread: Mercedes realizes The Count is Edmond when he twirls his hair the same way he used to.
* StatingTheSimpleSolution: Jacopo's response upon hearing Dantes's plans for revenge.
-->'''Jacopo:''' Why not just kill them? I'll do it! I'll run up to Paris -- bam, bam, bam, bam -- I'm back before week's end. We spend the treasure. How is this a bad plan?
* {{Swashbuckler}}: The book was written by the TropeCodifier author, after all.
* TeachMeHowToFight
* ThisIsSomethingHesGotToDoHimself: In the FinalBattle Albert is kept from intervening by Jacopo. Jacopo himself also refrains from intervening, even though he is a very capable fighter, because this is Dantes's fight.
* TiredOfRunning: After Fernand [[spoiler:shoots Mercedes]], he turns tail to run, mounts his horse and escapes at full gallop. However, after less than a minute, he pulls up and takes a moment to stare at the horizon, [[BlueBlood remembers his station]], turns around, draws his sword, and shouts his challenge.
-->'''Fernand:''' I couldn't live in a world where you have everything and I have nothing.
* TookALevelInBadass: Edmond is a hapless, uneducated merchant sailor when he is arrested; he returns to Marseille as an educated, erudite, swashbuckling nobleman.
* WhenYouSnatchThePebble: Edmond is challenged by the old priest to move his hand through dripping water without getting wet.
* WouldHitAGirl: By the final confrontation, Mondego has no problem of trying to [[spoiler:shoot Mercedes with a gun]].
----
''The Count of Monte Cristo'' is a 2002 film ([[AdaptationOverdosed one of many]]) based on [[Literature/TheCountOfMonteCristo the novel of the same name]] by Creator/AlexandreDumas. It stars Creator/JimCaviezel as the title character, and also Guy Pearce, James Frain, Luis Guzman, and Richard Harris. And a young Creator/HenryCavill.
----
!!This film provides examples of:
* ActionizedAdaptation: The original book has very few action scenes, with two duels interrupted before they can begin. The film adds a bunch of sword and knife fights, including a climactic duel between Edmond and Fernand.
* ActuallyPrettyFunny: Faria bursts out laughing when he realises he's spent five years digging a tunnel in the wrong direction.
* AdaptationalHeroism: The Count's schemes result in a ''lot'' less collateral damage than in the novel.
* AdaptationalVillainy:
** The warden of Chateau d'If, named Armand Dorleac in the film, is depicted as a sadist who tortures prisoners as part of an annual rite, despite the fact that he knows perfectly well that all the prisoners in Chateau d'If are innocent. In the book he did no such thing, never gave any indication of knowing his prisoners were innocent, and didn't even put Dantes in isolation until after a violent outburst on his part.
** Fernand was already an unscrupulous serial traitor in the book, but the movie goes out of its way to make him as deeply repulsive as possible -- in the book, he and Edmond weren't friends to begin with, so the betrayal was not as deeply personal. The book's Fernand was also not explicitly unfaithful to Mercedes, nor did he routinely challenge people to duels for sport; he also did not show as much disdain for his son Albert. The book's Fernand was also not a born aristocrat, so he lacks the classist tendencies of the film character.
** In the novels, Villefort is ashamed for sending Dantes to prison in order to secure his ambitions. His guilt over this (as well as some of his other crimes) eventually breaks him. The film version has no such remorse and even [[spoiler:kills his own father]].
* AdaptationDistillation: Inevitably given its size, large swathes of Dumas's novel are omitted or trimmed. Prominent characters such as Caderousse, Haydée, Franz d'Epinay, Benedetto, Bertuccio and Ali are also omitted. Nonetheless, it keeps to the plot and themes of the novel admirably.
** To be entirely honest some of the minor characters appear as one-shot cameos or become combinations of such. For example, we get a glimpse of Albert’s three friends, with whom he goes to Rome, who, most likely, are based upon Franz d’Epinay, Beauchamp and Debray. We can also see a black servant among the Count’s retinue, who is probably supposed to be Ali. Also, Jacopo in the movie is the combination of the novel’s Jacopo and the Count’s majordomo Bertuccio. Villefort’s wife name is Valentine, which was the name of his daughter in the novel.
* AdaptationNameChange: Monsieur Clarion was "Noirtier" in the novel.
* AntagonisticOffspring: [[spoiler:Albert confronts Dantes, though neither of them are aware of the relationship at that time.]]
* AntiHero: Edmond, as The Count, starts off as a NominalHero, only heroic at all because he's using his deplorable tactics to gain vengeance on the men who condemned him to false imprisonment. However he graduates to UnscrupulousHero at the end when he remembers his mentor's words and offers Mondego the chance to leave with his life. [[spoiler:He doesn't take it.]]
* AscendedExtra: Jacopo, who obeys the Count's instructions without question in the book, becomes TheWatson. Jacopo also serves as a CompositeCharacter, merged with Monte Cristo's faithful servant Bertuccio.
* BeardnessProtectionProgram: The Count trims his prison beard as part of his noble disguise. Noteworthy because of how effective it is. Upon returning to exact his revenge, Dantes is able to fool Villefort (who admittedly only met him once), his longtime employer Morrell and his lifelong friend Mondego. Only [[spoiler:Mercedes]] recognizes him. Mondego actually doesn't recognize him 'til he shaves.
* BigDamnHeroes: Deliberately invoked by The Count when he rescues Albert.
* BodybagTrick: Taking the place of Faria's corpse in a body bag (subsequently being thrown off a cliff into the ocean).
* BondOneLiner: An unusual variation, as it is exchanged while the victim is still dying from their wounds.
-->[[spoiler:'''Fernand:''' What happened to your mercy?]]
-->[[spoiler:'''Edmond:''' I'm a count....not a saint.]]
* BondVillainStupidity: Fernand and Villefort's frame up would likely have gone perfectly if they had just had Edmond executed as stated rather than thrown in prison for the rest of his life. This was already a VillainBall in the novel, but the film escalates it into ForTheEvulz levels, since the prison here is implied to be little more than a corrupt torture chamber they and other corrupt aristocrats dump their scapegoats so they can suffer.
* CallBack: How Mercedes realizes that the Count is Edmond, given his habit of twirling his hair.
* ChessMotifs: Edmond and Fernand have a chess king that they trade back and forth when the other has a victory, recognizing the other as "King of the Moment". Edmond explains this to Napoleon Bonaparte, who observes that "In life, we are all either Kings or Pawns." This becomes {{Foreshadowing}} for later, when Fernand refuses to give up the king piece to Edmond after Mercedes accepts his proposal. Fernand soon after makes Edmond a pawn in his machinations.
** Fernand then gives Edmond a king piece as Edmond is dragged away, to "remember better times." When they next meet, Edmond manipulates Fernand in turn, ultimately winning.
* ContrivedCoincidence: Abbe Faria, the sole living man who knows the location of the treasure of Monte Cristo, tunneled his way into Dantes's cell by accident.
* DeathByAdaptation: [[spoiler:Clarion, who is Villefort's father.]] It was something of a running gag in Dumas's novel that he was virtually indestructible.
* DefeatMeansFriendship. When Edmond defeats Jacapo in their knife duel, the latter swears eternal loyalty after his defeat.
* DialogueReversal: "Why are you doing this?" "It's complicated."
* DidYouActuallyBelieve: The Count's final words to Villefort.
-->"You didn't think I'd make it that easy for you, did you?"
* DuelToTheDeath: Several added to the script.
* EarnYourHappyEnding: [[spoiler:After being betrayed by his jealous friends on the eve of his wedding and condemned to spend years in a dungeon by a self-serving prosecutor, and then learning that his grief-stricken father committed suicide and his beloved fiancee married his enemy,]] Dantes would be forgiven for feeling [[Film/WhiteHeat on top of the world]] [[spoiler:as he left the Chateau d'If for the last time with his true love, his son and his best friend at his side, the vast Spada fortune in his possession, and having exacted sweet revenge on his betrayers]].
* EngineeredPublicConfession: The Count engineers one for [[spoiler:Villefort]].
* EvilStoleMyFaith: The despairing title character gives up all hope in God, having been unjustly incarcerated in a harsh French prison for several years.
* {{Flynning}}: PlayedWith. Most of the sword fighting in the movie is straight-forward Flynning, but the climactic duel between Edmond and Fernand shows Edmond using some legitimate unarmed defenses, like batting away Fernand's sword with his gloved hands, and blocking a strike with his arm (which shows, accurately, how useless rapiers are for slashing).
* GoodAdulteryBadAdultery: Edmond sleeps with Mercedes, who is married to Fernand.
* HellholePrison: Château d'If.
* HistoricalDomainCharacter: Cameo appearance by UsefulNotes/NapoleonBonaparte.
* HollywoodAtheist: Dantes loses his faith on account of his unjust imprisonment (and then regains it at the end of the film). This is a contrast to the novel, in which Dantes is still religious as the Count -- he just worships a ''very'' vengeful God.
* HopeSpot: Villefort realises Edmond is innocent and is actually about to release him. Then he finds out that the intended recipient of Napoleon's letter was [[OhCrap his own father]].
* HumanLadder: The priest asks to stand on Edmond's shoulders to see out a window for the first time in decades.
* INeverToldYouMyName: "Edmond Dantes is dead." Mercedes never told "the Count" Edmond's last name. Whoops.
* InTheLocalTongue:
-->'''Luigi''': We shall call him... Zatarra.\\
'''Edmund''': Sounds fearsome.\\
'''Luigi''': It means "driftwood".
* IronicEcho:
** "Why are you doing this?" "It's complicated."
** "I'm a count, not a saint."
* LargeHam: A gleefully sneering Guy Pearce as Fernand.
* LeaveBehindAPistol: {{Subverted}}. Dantes leaves [[spoiler:Villefort]] a pistol, but [[spoiler:it isn't loaded]]. The DVD reveals that they shot versions of the scene both ways, with [[spoiler: the sound of a gunshot coming from the carriage]] as the Count simply walks away.
* LooksLikeJesus: Dantes in prison, eventually.
* LukeIAmYourFather: [[spoiler:Dantes to Albert. Neither of them are aware until Mercedes does TheReveal.]]
* MeaningfulEcho: "I'm a count, not a saint."
* MeaningfulName: Abbé Faria ("The Mad Priest"). Notable in that since he hasn't had a conversation during the length of his entire sentence in the prison, he must have given this name to himself.
* MentorOccupationalHazard: Faria dies in prison after years of helping Edmond dig a tunnel and educating him in the arts and in combat. But his death provides Edmond with a quicker means of escape by taking the place of his wrapped-up corpse.
* ModestyBedsheet: Mercedes gets one. Justified in that she's concealing her naked body from the manservant of her lover, and not her lover himself. Averted in that once said manservant gives her favorable news, she suddenly cares not for preserving her modesty.
* NiceGuy: Albert is an idealistic young boy with none of the treachery of his father, making one marvel that he is Fernand's son. [[spoiler: As it turns out, he's not.]]
* NeverLearnedToRead: The first thing Faria has to teach Dantes, though he could already read in the book.
* NoDoubtTheYearsHaveChangedMe: Besides having an entirely different body build and almost certainly having somewhat changed the shape of his face (losing pretty much all of your body fat will do that), the dark, dangerous, and self-assured Count also doesn't speak, move, or act anything like gentle, sweet, nervous Edmond Dantes.
* NotHisSled: The aforementioned LukeIAmYourFather moment. In the original, [[spoiler:Albert is indeed Fernand's son and not Edmond's]].
* NumberOneDime: A chess piece has sentimental value to Edmond and Fernand.
* PhysicalScarsPsychologicalScars: The scars on Edmond's back that he received from being repeatedly lashed in the Chateau D'If represent how his time in prison embittered him.
* PragmaticAdaptation: Many aspects, including the relationships between major characters and the ending, have been changed, simplified, or removed; and action scenes have been added. The main themes of the story are intact. Given that this is an adaptation of a 440,000+ word novel, this is probably for the better.
* PrisonsAreGymnasiums: In the book, the priest's lessons were purely academic. In the film, he also teaches Dantes fencing... well enough to win two fights during his escape.
* RagsToRiches: Dantes, who progresses from second mate of a trading ship to the wealthy Count of Monte Cristo.
* RoaringRampageOfRevenge: The movie is adapted from the TropeCodifier.
* SaunaOfDeath: A scene with Villefort and the Count takes place in one of these.
* SlowClap: Abbé Faria does this when Dantes realizes the reason Villefort burned the incriminating letter and imprisoned him right after acquitting him of the charges.
* SpitefulSpit: Fernand does one to [[spoiler: Edmond as he goads him to finish him]].
* SpottingTheThread: Mercedes realizes The Count is Edmond when he twirls his hair the same way he used to.
* StatingTheSimpleSolution: Jacopo's response upon hearing Dantes's plans for revenge.
-->'''Jacopo:''' Why not just kill them? I'll do it! I'll run up to Paris -- bam, bam, bam, bam -- I'm back before week's end. We spend the treasure. How is this a bad plan?
* {{Swashbuckler}}: The book was written by the TropeCodifier author, after all.
* TeachMeHowToFight
* ThisIsSomethingHesGotToDoHimself: In the FinalBattle Albert is kept from intervening by Jacopo. Jacopo himself also refrains from intervening, even though he is a very capable fighter, because this is Dantes's fight.
* TiredOfRunning: After Fernand [[spoiler:shoots Mercedes]], he turns tail to run, mounts his horse and escapes at full gallop. However, after less than a minute, he pulls up and takes a moment to stare at the horizon, [[BlueBlood remembers his station]], turns around, draws his sword, and shouts his challenge.
-->'''Fernand:''' I couldn't live in a world where you have everything and I have nothing.
* TookALevelInBadass: Edmond is a hapless, uneducated merchant sailor when he is arrested; he returns to Marseille as an educated, erudite, swashbuckling nobleman.
* WhenYouSnatchThePebble: Edmond is challenged by the old priest to move his hand through dripping water without getting wet.
* WouldHitAGirl: By the final confrontation, Mondego has no problem of trying to [[spoiler:shoot Mercedes with a gun]].
----
to:
''The Count of Monte Cristo'' is a 2002 film ([[AdaptationOverdosed one of many]]) based on [[Literature/TheCountOfMonteCristo the novel of the same name]] by Creator/AlexandreDumas. It stars Creator/JimCaviezel as the title character, and also Guy Pearce, James Frain, Luis Guzman, and Richard Harris. And a young Creator/HenryCavill.
----
!!This film provides examples of:
* ActionizedAdaptation: The original book has very few action scenes, with two duels interrupted before they can begin. The film adds a bunch of sword and knife fights, including a climactic duel between Edmond and Fernand.
* ActuallyPrettyFunny: Faria bursts out laughing when he realises he's spent five years digging a tunnel in the wrong direction.
* AdaptationalHeroism: The Count's schemes result in a ''lot'' less collateral damage than in the novel.
* AdaptationalVillainy:
** The warden of Chateau d'If, named Armand Dorleac in the film, is depicted as a sadist who tortures prisoners as part of an annual rite, despite the fact that he knows perfectly well that all the prisoners in Chateau d'If are innocent. In the book he did no such thing, never gave any indication of knowing his prisoners were innocent, and didn't even put Dantes in isolation until after a violent outburst on his part.
** Fernand was already an unscrupulous serial traitor in the book, but the movie goes out of its way to make him as deeply repulsive as possible -- in the book, he and Edmond weren't friends to begin with, so the betrayal was not as deeply personal. The book's Fernand was also not explicitly unfaithful to Mercedes, nor did he routinely challenge people to duels for sport; he also did not show as much disdain for his son Albert. The book's Fernand was also not a born aristocrat, so he lacks the classist tendencies of the film character.
** In the novels, Villefort is ashamed for sending Dantes to prison in order to secure his ambitions. His guilt over this (as well as some of his other crimes) eventually breaks him. The film version has no such remorse and even [[spoiler:kills his own father]].
* AdaptationDistillation: Inevitably given its size, large swathes of Dumas's novel are omitted or trimmed. Prominent characters such as Caderousse, Haydée, Franz d'Epinay, Benedetto, Bertuccio and Ali are also omitted. Nonetheless, it keeps to the plot and themes of the novel admirably.
** To be entirely honest some of the minor characters appear as one-shot cameos or become combinations of such. For example, we get a glimpse of Albert’s three friends, with whom he goes to Rome, who, most likely, are based upon Franz d’Epinay, Beauchamp and Debray. We can also see a black servant among the Count’s retinue, who is probably supposed to be Ali. Also, Jacopo in the movie is the combination of the novel’s Jacopo and the Count’s majordomo Bertuccio. Villefort’s wife name is Valentine, which was the name of his daughter in the novel.
* AdaptationNameChange: Monsieur Clarion was "Noirtier" in the novel.
* AntagonisticOffspring: [[spoiler:Albert confronts Dantes, though neither of them are aware of the relationship at that time.]]
* AntiHero: Edmond, as The Count, starts off as a NominalHero, only heroic at all because he's using his deplorable tactics to gain vengeance on the men who condemned him to false imprisonment. However he graduates to UnscrupulousHero at the end when he remembers his mentor's words and offers Mondego the chance to leave with his life. [[spoiler:He doesn't take it.]]
* AscendedExtra: Jacopo, who obeys the Count's instructions without question in the book, becomes TheWatson. Jacopo also serves as a CompositeCharacter, merged with Monte Cristo's faithful servant Bertuccio.
* BeardnessProtectionProgram: The Count trims his prison beard as part of his noble disguise. Noteworthy because of how effective it is. Upon returning to exact his revenge, Dantes is able to fool Villefort (who admittedly only met him once), his longtime employer Morrell and his lifelong friend Mondego. Only [[spoiler:Mercedes]] recognizes him. Mondego actually doesn't recognize him 'til he shaves.
* BigDamnHeroes: Deliberately invoked by The Count when he rescues Albert.
* BodybagTrick: Taking the place of Faria's corpse in a body bag (subsequently being thrown off a cliff into the ocean).
* BondOneLiner: An unusual variation, as it is exchanged while the victim is still dying from their wounds.
-->[[spoiler:'''Fernand:''' What happened to your mercy?]]
-->[[spoiler:'''Edmond:''' I'm a count....not a saint.]]
* BondVillainStupidity: Fernand and Villefort's frame up would likely have gone perfectly if they had just had Edmond executed as stated rather than thrown in prison for the rest of his life. This was already a VillainBall in the novel, but the film escalates it into ForTheEvulz levels, since the prison here is implied to be little more than a corrupt torture chamber they and other corrupt aristocrats dump their scapegoats so they can suffer.
* CallBack: How Mercedes realizes that the Count is Edmond, given his habit of twirling his hair.
* ChessMotifs: Edmond and Fernand have a chess king that they trade back and forth when the other has a victory, recognizing the other as "King of the Moment". Edmond explains this to Napoleon Bonaparte, who observes that "In life, we are all either Kings or Pawns." This becomes {{Foreshadowing}} for later, when Fernand refuses to give up the king piece to Edmond after Mercedes accepts his proposal. Fernand soon after makes Edmond a pawn in his machinations.
** Fernand then gives Edmond a king piece as Edmond is dragged away, to "remember better times." When they next meet, Edmond manipulates Fernand in turn, ultimately winning.
* ContrivedCoincidence: Abbe Faria, the sole living man who knows the location of the treasure of Monte Cristo, tunneled his way into Dantes's cell by accident.
* DeathByAdaptation: [[spoiler:Clarion, who is Villefort's father.]] It was something of a running gag in Dumas's novel that he was virtually indestructible.
* DefeatMeansFriendship. When Edmond defeats Jacapo in their knife duel, the latter swears eternal loyalty after his defeat.
* DialogueReversal: "Why are you doing this?" "It's complicated."
* DidYouActuallyBelieve: The Count's final words to Villefort.
-->"You didn't think I'd make it that easy for you, did you?"
* DuelToTheDeath: Several added to the script.
* EarnYourHappyEnding: [[spoiler:After being betrayed by his jealous friends on the eve of his wedding and condemned to spend years in a dungeon by a self-serving prosecutor, and then learning that his grief-stricken father committed suicide and his beloved fiancee married his enemy,]] Dantes would be forgiven for feeling [[Film/WhiteHeat on top of the world]] [[spoiler:as he left the Chateau d'If for the last time with his true love, his son and his best friend at his side, the vast Spada fortune in his possession, and having exacted sweet revenge on his betrayers]].
* EngineeredPublicConfession: The Count engineers one for [[spoiler:Villefort]].
* EvilStoleMyFaith: The despairing title character gives up all hope in God, having been unjustly incarcerated in a harsh French prison for several years.
* {{Flynning}}: PlayedWith. Most of the sword fighting in the movie is straight-forward Flynning, but the climactic duel between Edmond and Fernand shows Edmond using some legitimate unarmed defenses, like batting away Fernand's sword with his gloved hands, and blocking a strike with his arm (which shows, accurately, how useless rapiers are for slashing).
* GoodAdulteryBadAdultery: Edmond sleeps with Mercedes, who is married to Fernand.
* HellholePrison: Château d'If.
* HistoricalDomainCharacter: Cameo appearance by UsefulNotes/NapoleonBonaparte.
* HollywoodAtheist: Dantes loses his faith on account of his unjust imprisonment (and then regains it at the end of the film). This is a contrast to the novel, in which Dantes is still religious as the Count -- he just worships a ''very'' vengeful God.
* HopeSpot: Villefort realises Edmond is innocent and is actually about to release him. Then he finds out that the intended recipient of Napoleon's letter was [[OhCrap his own father]].
* HumanLadder: The priest asks to stand on Edmond's shoulders to see out a window for the first time in decades.
* INeverToldYouMyName: "Edmond Dantes is dead." Mercedes never told "the Count" Edmond's last name. Whoops.
* InTheLocalTongue:
-->'''Luigi''': We shall call him... Zatarra.\\
'''Edmund''': Sounds fearsome.\\
'''Luigi''': It means "driftwood".
* IronicEcho:
** "Why are you doing this?" "It's complicated."
** "I'm a count, not a saint."
* LargeHam: A gleefully sneering Guy Pearce as Fernand.
* LeaveBehindAPistol: {{Subverted}}. Dantes leaves [[spoiler:Villefort]] a pistol, but [[spoiler:it isn't loaded]]. The DVD reveals that they shot versions of the scene both ways, with [[spoiler: the sound of a gunshot coming from the carriage]] as the Count simply walks away.
* LooksLikeJesus: Dantes in prison, eventually.
* LukeIAmYourFather: [[spoiler:Dantes to Albert. Neither of them are aware until Mercedes does TheReveal.]]
* MeaningfulEcho: "I'm a count, not a saint."
* MeaningfulName: Abbé Faria ("The Mad Priest"). Notable in that since he hasn't had a conversation during the length of his entire sentence in the prison, he must have given this name to himself.
* MentorOccupationalHazard: Faria dies in prison after years of helping Edmond dig a tunnel and educating him in the arts and in combat. But his death provides Edmond with a quicker means of escape by taking the place of his wrapped-up corpse.
* ModestyBedsheet: Mercedes gets one. Justified in that she's concealing her naked body from the manservant of her lover, and not her lover himself. Averted in that once said manservant gives her favorable news, she suddenly cares not for preserving her modesty.
* NiceGuy: Albert is an idealistic young boy with none of the treachery of his father, making one marvel that he is Fernand's son. [[spoiler: As it turns out, he's not.]]
* NeverLearnedToRead: The first thing Faria has to teach Dantes, though he could already read in the book.
* NoDoubtTheYearsHaveChangedMe: Besides having an entirely different body build and almost certainly having somewhat changed the shape of his face (losing pretty much all of your body fat will do that), the dark, dangerous, and self-assured Count also doesn't speak, move, or act anything like gentle, sweet, nervous Edmond Dantes.
* NotHisSled: The aforementioned LukeIAmYourFather moment. In the original, [[spoiler:Albert is indeed Fernand's son and not Edmond's]].
* NumberOneDime: A chess piece has sentimental value to Edmond and Fernand.
* PhysicalScarsPsychologicalScars: The scars on Edmond's back that he received from being repeatedly lashed in the Chateau D'If represent how his time in prison embittered him.
* PragmaticAdaptation: Many aspects, including the relationships between major characters and the ending, have been changed, simplified, or removed; and action scenes have been added. The main themes of the story are intact. Given that this is an adaptation of a 440,000+ word novel, this is probably for the better.
* PrisonsAreGymnasiums: In the book, the priest's lessons were purely academic. In the film, he also teaches Dantes fencing... well enough to win two fights during his escape.
* RagsToRiches: Dantes, who progresses from second mate of a trading ship to the wealthy Count of Monte Cristo.
* RoaringRampageOfRevenge: The movie is adapted from the TropeCodifier.
* SaunaOfDeath: A scene with Villefort and the Count takes place in one of these.
* SlowClap: Abbé Faria does this when Dantes realizes the reason Villefort burned the incriminating letter and imprisoned him right after acquitting him of the charges.
* SpitefulSpit: Fernand does one to [[spoiler: Edmond as he goads him to finish him]].
* SpottingTheThread: Mercedes realizes The Count is Edmond when he twirls his hair the same way he used to.
* StatingTheSimpleSolution: Jacopo's response upon hearing Dantes's plans for revenge.
-->'''Jacopo:''' Why not just kill them? I'll do it! I'll run up to Paris -- bam, bam, bam, bam -- I'm back before week's end. We spend the treasure. How is this a bad plan?
* {{Swashbuckler}}: The book was written by the TropeCodifier author, after all.
* TeachMeHowToFight
* ThisIsSomethingHesGotToDoHimself: In the FinalBattle Albert is kept from intervening by Jacopo. Jacopo himself also refrains from intervening, even though he is a very capable fighter, because this is Dantes's fight.
* TiredOfRunning: After Fernand [[spoiler:shoots Mercedes]], he turns tail to run, mounts his horse and escapes at full gallop. However, after less than a minute, he pulls up and takes a moment to stare at the horizon, [[BlueBlood remembers his station]], turns around, draws his sword, and shouts his challenge.
-->'''Fernand:''' I couldn't live in a world where you have everything and I have nothing.
* TookALevelInBadass: Edmond is a hapless, uneducated merchant sailor when he is arrested; he returns to Marseille as an educated, erudite, swashbuckling nobleman.
* WhenYouSnatchThePebble: Edmond is challenged by the old priest to move his hand through dripping water without getting wet.
* WouldHitAGirl: By the final confrontation, Mondego has no problem of trying to [[spoiler:shoot Mercedes with a gun]].
----
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** To be entirely honest some of the minor characters appear as one-shot cameos or become combinations of such. For example, we get a glimpse of Albert’s three friends, with whom he goes to Rome, who, most likely, are based upon Franz d’Epinay, Beauchamp and Debray. We can also see a black servant among the Count’s retinue, who is probably supposed to be Ali. Also, Jacopo in the movie is the combination of the novel’s Jacopo and the Count’s majordomo Bertuccio. Villefort’s wife name is Valentine, which was the name of his daughter in the novel.
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* DuelToTheDeath: Several added to the script.
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* PrisonsAreGymnasiums: In the book, the priest's lessons were purely academic. In the film, he also teaches Dantes fencing... well enough to win two fights during his escape.
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* ActionizedAdaptation: The original book has very few action scenes, with two duels interrupted before they can begin. The film adds a bunch of sword and knife fights, including a climactic duel between Edmond and Fernand.
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Renamed one trope.
* BondOneLiner: An unusual variation, as it is exchanged while the victim is still dying from their wounds.
-->[[spoiler:'''Fernand:''' What happened to your mercy?]]
-->[[spoiler:'''Edmond:''' I'm a count....not a saint.]]
-->[[spoiler:'''Fernand:''' What happened to your mercy?]]
-->[[spoiler:'''Edmond:''' I'm a count....not a saint.]]
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* DeathByAdaptation: [[spoiler:Clarion, who is Villefort's father]]. It was something of a running gag in Dumas's novel that he was virtually indestructible.
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* DeathByAdaptation: [[spoiler:Clarion, who is Villefort's father]]. father.]] It was something of a running gag in Dumas's novel that he was virtually indestructible.
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* LukeIAmYourFather: [[spoiler:Dantes to Albert. Neither of them are aware until Mercedes does TheReveal]]
to:
* LukeIAmYourFather: [[spoiler:Dantes to Albert. Neither of them are aware until Mercedes does TheReveal]]TheReveal.]]
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* PostMortemOneLiner: An unusual variation, as it is exchanged while the victim is still dying from their wounds.
-->[[spoiler:'''Fernand:''' What happened to your mercy?]]
-->[[spoiler:'''Edmond:''' I'm a count....not a saint.]]
-->[[spoiler:'''Fernand:''' What happened to your mercy?]]
-->[[spoiler:'''Edmond:''' I'm a count....not a saint.]]
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* SpitefulSpit: Fernand does one to [[spoiler: Edmond as he goads him to finish him.]]
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* SpitefulSpit: Fernand does one to [[spoiler: Edmond as he goads him to finish him.]]him]].
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** In the novels, Villefort is ashamed for sending Dantes to prison in order to secure his ambitions. His guilt over this (as well as some of his other crimes) eventually breaks him. The film version has no such remorse and even [[spoiler:kills his own father]].
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-->[[spoiler:Fernand: What happened to your mercy?]]
-->[[spoiler:Edmond: I'm a count....not a saint.]]
-->[[spoiler:Edmond: I'm a count....not a saint.]]
to:
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* EvilStoleMyFaith: The despairing title character gives up all hope in God, having been incarcerated in a harsh French prison for several years.
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* EvilStoleMyFaith: The despairing title character gives up all hope in God, having been unjustly incarcerated in a harsh French prison for several years.
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* {{Flynning}}: PlayedWith. Most of the sword fighting in the movie is straight-forward Flynning, but the climactic duel between Edmond and Fernand shows Edmond using some legitimate unarmed defenses, like batting away Fernand's sword with his gloved hands, and blocking a strike with his arm (which shows, accurately, how useless rapiers are for slashing).
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* BeardnessProtectionProgram: The Count trims his prison beard as part of his noble disguise. Noteworthy because of how effective it is. Upon returning to exact his revenge, Dantes is able to fool Villefort (who admittedly only met him once), his longtime employer Morrell and his lifelong friend Mondego. Only [[spoiler:Mercedes]] recognizes him. Mondego actually doesn't recognize him til he shaves.
to:
* BeardnessProtectionProgram: The Count trims his prison beard as part of his noble disguise. Noteworthy because of how effective it is. Upon returning to exact his revenge, Dantes is able to fool Villefort (who admittedly only met him once), his longtime employer Morrell and his lifelong friend Mondego. Only [[spoiler:Mercedes]] recognizes him. Mondego actually doesn't recognize him til 'til he shaves.
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''The Count of Monte Cristo'' is a 2002 film ([[AdaptationOverdosed one of many]]) based on [[Literature/TheCountOfMonteCristo the novel of the same name]] by Creator/AlexandreDumas. It stars Creator/JimCaviezel as the title character, and also Guy Pearce, James Frain, Luis Guzman, and Richard Harris. And a young Creator/HenryCavill
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''The Count of Monte Cristo'' is a 2002 film ([[AdaptationOverdosed one of many]]) based on [[Literature/TheCountOfMonteCristo the novel of the same name]] by Creator/AlexandreDumas. It stars Creator/JimCaviezel as the title character, and also Guy Pearce, James Frain, Luis Guzman, and Richard Harris. And a young Creator/HenryCavill Creator/HenryCavill.
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* LooksLikeJesus: Dantes in prison, eventually.
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* SaunaOfDeath: A scene with Villefort and the Count takes place in one of these.
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* SaunaOfDeath: A scene with Villefort and the Count takes place in one of these.
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* SarcasticClapping: Abbé Faria does this when Dantes realizes the reason Villefort burned the incriminating letter and imprisoned him right after acquitting him of the charges.
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* SarcasticClapping: SlowClap: Abbé Faria does this when Dantes realizes the reason Villefort burned the incriminating letter and imprisoned him right after acquitting him of the charges.
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* BondVillainStupidity: Fernand and Villefort's frame up would likely have gone perfectly if they had just had Edmond executed as stated rather than thrown in prison for the rest of his life. This was already a VillainBall in the novel, but the film escalates it into ForTheEvulz levels, since the prison here is implied to be little more than a corrupt torture chamber they and other corrupt aristocrats dump their scapegoats so they can suffer.
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* PostMortemOneLiner: An unusual variation, as it is exchanged while the victim is still dying from their wounds.
-->[[spoiler:Fernand: What happened to your mercy?]]
-->[[spoiler:Edmond: I'm a count....not a saint.]]
-->[[spoiler:Fernand: What happened to your mercy?]]
-->[[spoiler:Edmond: I'm a count....not a saint.]]
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* SpitefulSpit: Fernand does one to [[spoiler: Edmond as he goads him to finish him.]]
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* ActuallyPrettyFunny: Faria bursts out laughing when he realises he's spent five years digging a tunnel in the wrong direction.
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* HopeSpot: Villefort realises Edmond is innocent and is actually about to release him. Then he finds out that the intended recipient of Napoleon's letter was [[OhCrap his own father]].
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* NiceGuy: Albert is a idealistic young boy with none of the treachery of his father, making one marvel that he is Fernand's son. [[spoiler: As it turns out, he's not.]]
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* NiceGuy: Albert is a an idealistic young boy with none of the treachery of his father, making one marvel that he is Fernand's son. [[spoiler: As it turns out, he's not.]]
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''The Count of Monte Cristo'' is a 2002 film ([[AdaptationOverdosed one of many]]) based on [[Literature/TheCountOfMonteCristo the novel of the same name]] by Creator/AlexandreDumas. It stars Jim Caviezel as the title character, and also Guy Pearce, James Frain, Luis Guzman, and Richard Harris.
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''The Count of Monte Cristo'' is a 2002 film ([[AdaptationOverdosed one of many]]) based on [[Literature/TheCountOfMonteCristo the novel of the same name]] by Creator/AlexandreDumas. It stars Jim Caviezel Creator/JimCaviezel as the title character, and also Guy Pearce, James Frain, Luis Guzman, and Richard Harris.Harris. And a young Creator/HenryCavill
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* NiceGuy: Albert is a idealistic young boy with none of the treachery of his father, making one marvel that he is Fernand's son. [[spoiler: As it turns out, he's not.]]
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Defeat Means Friendship- Jacopo
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* DefeatMeansFriendship. When Edmond defeats Jacapo in their knife duel, the latter swears eternal loyalty after his defeat.
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* AdaptationDistillation: Inevitably given its size, large swathes of Dumas' novel are omitted or trimmed. Prominent characters such as Caderousse, Haydée, Franz d'Epinay, Benedetto, Bertuccio and Ali are also omitted. Nonetheless, it keeps to the plot and themes of the novel admirably.
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* AdaptationDistillation: Inevitably given its size, large swathes of Dumas' Dumas's novel are omitted or trimmed. Prominent characters such as Caderousse, Haydée, Franz d'Epinay, Benedetto, Bertuccio and Ali are also omitted. Nonetheless, it keeps to the plot and themes of the novel admirably.
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* DeathByAdaptation: [[spoiler:Clarion, who is Villefort's father]]. It was something of a running gag in Dumas' novel that he was virtually indestructible.
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* DeathByAdaptation: [[spoiler:Clarion, who is Villefort's father]]. It was something of a running gag in Dumas' Dumas's novel that he was virtually indestructible.
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* StatingTheSimpleSolution: Jacopo's response upon hearing Dantes' plans for revenge.
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* StatingTheSimpleSolution: Jacopo's response upon hearing Dantes' Dantes's plans for revenge.
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* ThisIsSomethingHesGotToDoHimself: In the FinalBattle Albert is kept from intervening by Jacopo. Jacopo himself also refrains from intervening, even though he is a very capable fighter, because this is Dantes' fight.
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* ThisIsSomethingHesGotToDoHimself: In the FinalBattle Albert is kept from intervening by Jacopo. Jacopo himself also refrains from intervening, even though he is a very capable fighter, because this is Dantes' Dantes's fight.
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** Fernand was already an unscrupulous serial traitor in the book, but the movie goes out of its way to make him as deeply repulsive as possible -- in the book, he and Edmond weren't friends to begin with, so the betrayal was not as deeply personal. The book's Fernand was also not explicitly unfaithful to Mercedes, nor did he routinely challenge people to duels for sport; he also did not show as much distain for his son Albert. The book's Fernand was also not a born aristocrat, so he lacks the classist tendencies of the film character.
to:
** Fernand was already an unscrupulous serial traitor in the book, but the movie goes out of its way to make him as deeply repulsive as possible -- in the book, he and Edmond weren't friends to begin with, so the betrayal was not as deeply personal. The book's Fernand was also not explicitly unfaithful to Mercedes, nor did he routinely challenge people to duels for sport; he also did not show as much distain disdain for his son Albert. The book's Fernand was also not a born aristocrat, so he lacks the classist tendencies of the film character.
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* TheObiWan: Abbé Faria to Dantes.
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* AdaptationalHeroism: The Count's schemes result in a ''lot'' less collateral damage than in the novel.
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* AdaptationDistillation: Inevitably given its size, large swathes of Dumas' novel are omitted or trimmed. Prominent characters such as Caderousse, Haydée, Franz d'Epinay, Benedetto, Bertuccio and Ali are also omitted.
to:
* AdaptationDistillation: Inevitably given its size, large swathes of Dumas' novel are omitted or trimmed. Prominent characters such as Caderousse, Haydée, Franz d'Epinay, Benedetto, Bertuccio and Ali are also omitted. Nonetheless, it keeps to the plot and themes of the novel admirably.
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* ContrivedCoincidence: Abbe Faria, the sole living man who knows the location of the treasure of Monte Cristo, tunneled his way into Dantes's cell by accident.
