Revisiting D'Artagnan (1974)

"The Three Musketeers." I read the novel when I was in junior high, then read it again in French in high school. When Richard Lester's iconic, irreverent version of the Dumas classic hit theaters in 1974, I was (almost literally) first in line to see it (well, as "first" as one could be in Lorain, OH). It boasted a cast that included Oliver Reed, Richard Chamberlain and Frank Finlay as the musketeers, Christopher Lee, Faye Dunaway, Raquel Welch, Charlton Heston, Jean-Pierre Cassel and Geraldine Chaplin in supporting roles, and (drum roll), Michael York in the featured role as musketeer-in-training D'Artagnan.

Lest you think I'm on a Michael York binge (which I'd happily admit to, except this one is purely acciental), I came upon "The Four Musketeers" the other day while channel-surfing during the "stay-at-home" COVID-19 pandemic. Wow. DId I miss something? I tried to channel back, then checked the TCM website to see if I'd missed the first part (I hadn't), but resigned my satisfaction to being able to see the second part of this originally epic film in tact.

Here's the reason for my dismay: The original 1974 version of "The Three Musketeers" turned out to be a 3-hour-plus epic that film distributors thought was "too long," and opted to cut the film into two parts. Actors signed to film one film that turned out to be two, sued the production company. The result is what is now called the "Salkind Clause," which stipulates that single production projects cannot be split into installments (re: multple films) without prior consent of those involved in production. Quentin Tarantino surely checked out this clause when "Kill Bill" went from one film to two, as Miramax thought a three-hour Kung-Fu epic was too long for theater audiences.

Back to the saga. I'm beginning to think my "stay-at-home" status during COVID-19 has returned me to my younger self, craving films that take place in eras gone by. First, "Emma." Then "Sense and Sensibility" and "Great Expectations." Now, "The Four Musketeers." Can "Dangerous Liaisons" and "Sommersby" be far behind?

I hadn't seen "The Four Musketeers" in almost two decades, so I was wondering how Lester's serio-romp would hold up. The first half (at first, my favorite), offered an historically accurate, playful, but thoughtful glimpse into the life of a musketeer in 17th century France. Political and religious intrigue abound, but the result is an energizing, highly entertaining adaption of Dumas beloved novel.

Perfectly cast: how much can one improve on having dark, mysterious bad boy Oliver Reed as the enigmatic Athos, foppish intellectual Richard Chamberlain as Jesuit-in-waiting Aramis, and clumsy Frank Finley as the sharp, but slightly buffoonish Porthos? Securing Faye Dunaway as the dangerous Milady, Raquel Welch (in a brilliant comedic cast against type) as Queen Anne's accident-prone dressmaker Constance Bonacieux, and Charlton Heston (Moses!) as the diabolical Cardinal Richelieu - completes a dream cast that does not disappoint. And, of course, not least, including Michael York as the film's protagonist, D'Artagnan, the fair-haired Gascon whose earnestness and drive to become a musketeer drives both the action and emotion in both films.

As "The Four Musketeers" begins, we see flashbacks from the first half, reminders of the plot and the characters from the first installment, before being plunged in the 1628 Siege at La Rochelle, an historic battle between the forces of Louis XIII of France and the French Huguenots. Continuing to mix comedy w/adventure (a bored Comte de Rochefort observes the bungling squad charged to execute him, "I may die of boredom waiting for them to shoot."), Lester punctuates the action w/wit, cleverly choreographed fencing, and enough energy to sustain even the most reluctant period-piece adventure.

Darker than its predecessor, "The Four Musketeers" moves beyond the romp of "The Three Musketeers" in both plot and theme, this time focusing on death, revenge, and retribution. Backstories to Athos (Oliver Reed) and Milady (Faye Dunaway) are revealed, and drive both the immediate storyline rescuing D'Artagnan's beloved Constance and winning La Rochelle, as well as completing the arch of D'Artagnan's internship w/the Musketeers and Richelieu's evil intentions.

I was taken (again) by the precise historical detail: from the portable pipe organ to Milady's practically designed dress that includes the place for a handy poison-filled dagger. More than that, I was reminded what a wonderful actor was Oliver Reed, pitch perfect as the handsome, melancholy Comte de la Fer who drowns his past sorrows in drink (art imitating life?). Meticulously paired w/Chamberlain's fastidious Aramis and Finlay's extroverted gentleman Porthos, it is Athos' revenge - and Reed's wounded pride - that drive the second half of the story, ultimately bringing full circle D'Artagnan's coming of age and Milady's fate. Justified or not, Athos' final confrontation is both fitting and compelling, arguably, embodying both the religious and political strife of the day.

Lester's masterful hand keeps this second part of the story from digressing into pure camp or silly comedy. He balances every slip and stumble w/clever wit, calculated energy, and athletic fencing matches. The final confrontation between D'Artagnan and Rochefort is a poetic pas de deux in the sanctuary of the church @ Armentieres, a beautifully staged climax that is both visually and symbolically appropriate (and stunning), as good v. evil meet in hand-to-hand combat.

I wish TCM would run "The Three Musketeers" and "The Four Musketeers" back-to-back sometime. It would make for one entertaining Saturday afternoon-evening marathon of inspired film making. I need to find the first one (stored somewhere w/my collection of DVD's, or online), as I now feel the need to watch the whole epic saga from start to finish....again.

PS Michael York is the essence of D'Artagnan - naive and vulnerable at first, then fire-fueled with love, and finally resigned to the joys and sorrows of the real world. A subtle, quintessential performance. He and Reed are worth the price of (both) admissions. And Welch's Golden Globe winning Supporting Actress turn is, at once, triumphant and deserved.