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The Count of Monte Cristo

The Count of Monte Cristo

Drama · Adventure · 1934

Young sailor Edmond Dantès is wrongfully imprisoned, escapes, finds treasure, and reinvents himself as the wealthy Count of Monte Cristo to exact revenge on those who betrayed him.

Movie details

The Count of Monte Cristo

“Romance Lives On ... In The Glory Of Dumas' Immortal Novel !”

1934 Drama · Adventure 1h 53m

Critical arithmetic

One number, for now.

TMDB

6.8 / 10

Community rating

Young sailor Edmond Dantès is wrongfully imprisoned, escapes, finds treasure, and reinvents himself as the wealthy Count of Monte Cristo to exact revenge on those who betrayed him.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Count of Monte Cristo?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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The Count of Monte-Cristo

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Young sailor Edmond Dantès is wrongfully imprisoned, escapes, finds treasure, and reinvents himself as the wealthy Count of Monte Cristo to exact revenge on those who betrayed him.

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The Count of Monte Cristo

The Count of Monte Cristo

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Young sailor Edmond Dantès is wrongfully imprisoned, escapes, finds treasure, and reinvents himself as the wealthy Count of Monte Cristo to exact revenge on those who betrayed him.

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Brute Force

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Names above the title

The people responsible.

Directed by

Rowland V. Lee

Written by

Philip Dunne · Dan Totheroh · Rowland V. Lee · Harvey F. Thew

Robert Donat

Robert Donat

Edmond Dantes

Elissa Landi

Elissa Landi

Mercedes

Louis Calhern

Louis Calhern

De Villefort Jr.

Sidney Blackmer

Sidney Blackmer

Mondego

Raymond Walburn

Raymond Walburn

Danglars

O. P. Heggie

O. P. Heggie

Abbe Faria

Irene Hervey

Irene Hervey

Valentine

Court is in session

Put The Count of Monte Cristo on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.