Film Review: The Three Musketeers (1948)
Due to its efficient combination of action, melodrama and exotic history, The Three Muskeeters, 1844 novel by Alexandre Dumas, became immensely popular among film makers, which resulted in large number of adaptations being produced from the earliest days of cinema. This multitude of The Three Muskeeters films also brings to film historians good reference points to chronicle changes in styles, content and technological development of cinema. One of the more important of such points is 1948 Hollywood film directed by George Sidney, best known as the first adaptation made in colour.
The plot begins in 1625 when d’Artagnan (played by Gene Kelly), son of a petty noble from Gascony, travels to Paris in order to join the elite unit of Royal Musketeers. There he runs afoul with three Musketeers – Athos (played by Van Hefflin), Porthos (played by Gig Young) and Aramis (played by Robert Coote) – and has to fight duel with all three of them. The duels are interrupted with arrival of the guards in service of evil prime minister Richelieu (played by Vincent Price), which results in scuffle in which d’Artagnan sides with Muskeeters, displays his excellent swordsmanship and becomes their best friend. Musketeers are soon called to save Queen Anne (played by Angela Lansbury) from disgrace, when it turns out that she was having an affair with English prime minister Duke of Buckingham (played by John Sutton). Richelieu, upon learning about this, has diamonds that Anne has gave to Buckingham stolen hoping that its absence would ruin Queen in the eyes of King Louis XIII (played by Frank Morgan). D’Artagnan, in the meantime, falls in love with Queen’s confidant Constance Bonnacieux (played by June Allyson) and with her help goes to England to retrieve diamonds. But Richelieu has a secret weapon in form of Countess Milady De Winter (played by Lana Turner), beautiful but ruthless woman who would stop at nothing, including using her seductive abilities, to advance Richelieu’s agenda.
Creation of swashbuckling genre in Hollywood is often credited to Douglas Fairbanks whose 1921 version of The Three Muskeeters was enormous hit of silent era but it doesn’t look that impressive now. Compared with it, 1948 version, with its sound and bright colours, looks like great improvement and it is actually much closer to films we might see today. Metro-Goldwyn-Meyer, studio behind it, was at the zenith of its power at the time, having already built reputation on colourful big budget musicals. While Sidney’s film plays it straight, unburdened with song and dance numbers, talented dancer Gene Kelly plays very playful version of D’Artagnan, especially in the first part of the film which contains some well-choreographed swordfighting scenes. Despite flirting with light comedy and even some slapstick, Kelly took his role very seriously and had actually taken fencing lessons to play D’Artagnan well. He and the rest of the crew actually had very good time at the set and, together with film’s great box office success, that explains why The Three Muskeeters became Kelly’s favourite non-musical film.
Old school Hollywood action is well-matched with old school melodrama, although Kelly lacks chemistry with June Allyson who does her best, but can’t overcome one-dimensional nature of her angelic character. It is quite different story with Lana Turner, one of the greatest stars of 1940s Hollywood who delivers one of the most iconic performances as sultry, manipulative and evil Milady De Winter. Vincent Price is also great as regal but manipulative Richelieu whose subtle intimidation is telegraphed by his height. Van Hefflin, one of the greatest character actors of his generation, provides another good performance as Athos, Muskeeter who hides humiliating personal secret under the guise of hedonism.
George Sidney, although not considered to be among the top directors of his time, does more than solid job with large MGM resources at his disposal. Plot goes smoothly and audience doesn’t notice film lasting almost two hours and, despite being shot on California locations, props and sets make convincing recreation of 17th Century France and England. Colours are bright and appealing, while music score by Herberth Stothart adds to melodrama by using motives of Tchaikovsky, openly mentioned in credits. Although screenwriter Robert Ardrey complained about studio interference and having the rich content of Dumas’ novel simplified, this version of The Three Muskeeters is one of rare that keeps some of novel’s darker content near the end. Script also has plenty of double entendres related to sex and protagonist who is implied to be promiscuous, which is something unusual for Hollywood under the yoke of MPAA Production Code. Probably in order to appease Catholic Church whose teachings main censor Joseph Breen promoted in Hays Office, MGM has erased all references of Richelieu being a cardinal.
The Three Muskeeters became massive hit and Gene Kelly reaffirmed his position as the star, which would lead to further triumphs in 1950s. That included Singin’ in the Rain, musical where appears in swashbuckling “film within a film” Royal Rascal using footage from 1948 film. Sidney’s film became the most successful adaptation of Dumas’ novel by that time, being dethroned quarter of century later by celebrated Richard Lester’s version.
RATING: 7/10 (+++)
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