The Fifth Musketeer (1979)

the audience applauded

Fantastic!

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

The film may be flawed, but its message is not.

Reviewer suchenwi, I'm with you. I liked this film back when it first came out, and I still like it. And the most basic reason is that it is great fun. In fact, when you think about it, all the various filmed depictions of musketeers are just made for that very reason...just to have a little fun.The film has a good cast. I've always liked Beau Bridges, and thought him to be a more enjoyable actor than his brother; however, his performance here (as Louis XIV / Philippe of Gascony) in certain scenes seems just a tad hyper. Rex Harrison, as political plotter Colbert is very good, and I can actually hear him here (I once saw him in a play at the Kennedy Center, and though we sat 5th row middle, we couldn't hear his mumbling, as was pointed out by the review the next morning in the "Washington Post"). Sylvia Kristel (most famous for her roles as Emmanuelle) is quite attractive, but it difficult to say if she was a good actress as Princess Maria Theresa since all her dialog was dubbed by another actress! Ursula Andress was around...as the king's high class whore...and her acting was as good as always...which isn't saying much. The 4 Musketeers are played by Cornel Wilde, Alan Hale, Jr., Jose Ferrer Lloyd Bridges, and they all did very nicely, and it was good seeing them in these roles. Ian McShane played the bad guy...and did well at it (he seems to have a talent for such roles). Olivia deHavilland is here briefly as the King's Mother; a small role, and her final before retiring.With some variations, this is "The Man In The Iron Mask". It's a good story and great fun. It was filmed in Austria, and is beautifully done. (Trivia -- the Musketeers made a cameo appearance on Perry Como's Christmas special that year, which was also being filmed in Austria).Is this the finest version of this general story? Probably not. But I enjoyed it. You probably will, too.

Since the copy I acquired of this film bears the year of copyright as 1977, I can only assume it was delayed by 2 years because it was preceded by the 1977 TV version of THE MAN IN THE IRON MASK – given that the title under review is merely another adaptation of this classic Alexandre Dumas tale! Made on a grand scale, with a large and international star-studded cast, the film apparently intended to ape the jokey style of Richard Lester's recent two-part (1973/1974) rendition of Dumas' "The Three Musketeers". However, director Annakin was too much of an old-style film-maker to make that work and, in any case, his handling is generally uninspired – merely content to let the script (reworking James Whale's superior 1939 version!), the actors and Jack Cardiff's gorgeous color photography tell the tale, as it were (aided, of course, by Riz Ortolani's suitably rousing score).Amusingly, top billing here goes to the ladies: heroine Sylvia Kristel (fresh off the erotic "Emmanuelle" series, she even gets away with some very mild nudity!) and villainess Ursula Andress (at the tail-end of her stardom really but surprisingly enthusiastic). Incidentally, one of the novelties here is that Andress' Mademoiselle La Valliere (I was not familiar with the character when I encountered her in J. Sheridan LeFanu's "The Room In The Dragon Volant", which I subsequently turned into a script!) gets much more screen-time than her equivalent in the 1939 'original'; indeed, the two women have a number of confrontations throughout – notably when Andress sets a falcon on Kristal. The male lead, however, was a gross miscalculation as Beau Bridges' style of acting is too modern to pass muster in a period romp and in this company (though he must have relished getting close to two beauties such as he is flanked by here)! A measure of the (cynical) times, however, is the fact that the assassination attempt on the King (for which, being aware of it, he has deliberately sent his unwitting twin) resolves itself not by a persuasively sympathetic speech as in the 1939 version but rather a full-bloodied yet highly improbable action sequence! The Four Musketeers, then, are played up as much older than in the earlier version (they still get involved in plenty of derring-do but only 2 expire at the end): Cornel Wilde is D'Artagnan, Jose' Ferrer Athos, Lloyd Bridges (yes, Beau's dad!) Aramis and Alan Hale Jr. in his own real-life father's old role as Porthos – interestingly, 27 years prior to this, Wilde and Hale had appeared together in a similar swashbuckler, actually playing the sons of their respective characters here, AT SWORD'S POINT (1952)! Likewise, an over-age Rex Harrison 'replaces' Walter Kingsford as the Musketeers' court insider – though the muddled script fails to properly explain the reason behind the beating he receives towards the end! Ian McShane, on the other hand, is perhaps too young for the villainous Fouquet and, again, he emanates from a school of acting which jars with the rest of his colleagues (though he is certainly fun to watch). Olivia De Havilland (in her final theatrical appearance), then, is something of an embarrassment – popping up in a couple of scenes (confronting one Bridges and acknowledging another) as the former Queen-turned-Nun and Bernard Bresslaw (who seems to have strayed in from the "Carry On" series) is a blind inn-keeper! The prologue depicting the children's birth and enforced separation has been dropped here – presumably to instill an air of mystery into the proceedings; oddly, too, the all-important mask is given an impossibly clunky design (looking very much like a cooking-pot!). Finally, I have just realized that the version of the film I acquired and watched was 13 minutes short of the full-length running-time!

Most of the 9 comments I see here are negative to Luke-warm at best. So I beg to disagree and tell why I liked this film.Firstly, I haven't seen other renderings of the story, except for the Australian Burbank animation (1985), which I also cherished (for different reasons, of course). In fact, that anime made me read up on Wikipedia about the complex back stories, fiction and true, and after that I re-watched this Beau Bridges piece.I found him convincing both as Philippe and Louis XIV, and was thrilled by their duel on the shaky bridge (both dressed similarly, I was briefly on the edge of my seat).Then there's the ladies, who in my European cut expose interesting body parts, and when dressed still deliver strong emotions.But the roles that grabbed me most were Colbert and Fouqué, with their wheelings and dealings, mostly wrapped in courtly etiquette - quite fascinating. In contrast, the name-brand musketeers did not catch my attention so much.Finally, what detracted me most was the mismatch of the French dub and subtitles (DVD labeled Bakker 7812/773). In Vienna, Austria, the film was produced in English, but I wanted the "native" language - though very often I was astonished how many phrases can be translated differently to French, starting from "Je vous en prie" (dub) vs. "s'il vous plait" (subtitle). So I didn't get the convenient read-along experience I had hoped for. But all in all, I really enjoyed this film. And Sylvia Kristel impressed me quite much as Spanish royalty.

This retelling of Dumas' The Man in the Iron Mask makes for an ok film for a rainy day, but is hardly an epic swasbuckler. Beau Bridges is good in the dual roles of Louis and Phillipe, as is Rex Harrison as Colbert. Ian McShayne is delightfully evil as Fouquet and Ursulla Andress is wonderfully bitchy. Cornell Wilde and Alan Hale Jr. reprise their roles (sort of) from the film At Swords Point. Papa Bridges is around as a decidedly unreligious Aramis, and Jose Ferrer trades Cyrano's nose, for Athos' tunic. Sylvia Kristel is rather wooden as Marie Therese. In all, there is little for the actors to work with, but the scenery is nice and a few action sequences are quite good. Still one could have hoped for better things with this cast.