The Three Musketeers ALEXANDER DUMAS' - "ONE FOR ALL AND ALL FORONE"
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ALEXANDER DUMAS’
The Three Musketeers
“ONE FOR ALL AND ALL FOR ONE”
Raquel Welch as Constance and Charlton Heston as the imperious
Michael York as D’Artagnan. Cardinal Richelieu.
En Garde!
(L to R) Oliver Reed (Athos), Frank Finlay (Porthos),
Michael York (D’Artagnan) and Richard Chamberlain (Aramis).
A Frequently Told Swashbuckling Tale
At present count, there are nearly thirty film versions of the classic swashbuckler
written by Alexander Dumas in serialized form in 1844. Set in 17th century France, the
novel recounts the adventures of a young man named D’Artagnan after he leaves home to
travel to Paris and join the Musketeers of the Guard. The story has inspired a long list of
cinematic adaptations ranging from silent black and white films to widescreen technicolor
action adventures, animated short features and a mini-series on British television. The
earliest film version dates back to 1903 and the most recent was the 2011 big budget
spectacle directed by Paul W. S. Anderson with Milla Jovovich and Orlando Bloom. The
acting talent ranges from the biggest names of the golden age of Hollywood (Douglas
Fairbanks, John Wayne and Gene Kelly) to such contemporary actors as Charlie Sheen,
Kiefer Sutherland and Chris O’Donnell.
By far the most entertaining and fully realized version is the one directed by Richard Lester
in 1973. The Twentieth Century Fox film was released in the spring of 1974 to critical
acclaim and robust box-office returns. It boasted an international cast that eclipsed all the
other adaptations in star power and acting talent: Oliver Reed, Michael York, Faye
Dunaway, Raquel Welch, Richard Chamberlain, Geraldine Chaplin, Jean-Pierre Cassel,
2 Simon Ward, Spike Milligan, Christopher Lee, Roy Kinnear and Charlton Heston.
Lester not only brought a dazzling display of swashbuckling
action to the table, but also a pointed (pun intended) satirical
edge that humanized the exalted reputation of these legendary
characters. Leveraging the humor and irreverent tone of George
MacDonald Fraser’s script, Lester did not hesitate to show the
musketeers in an unflattering light. Nevertheless, his affection
for them was evident in every frame no matter how outrageous
or undignified the situations became.
Viewed today, the film remains a rollicking, freewheeling joy ride
from start to finish. Lester’s musketeers are anything but one
dimensional action figures, rather, they are an unruly bunch who
approach conflict with more blunt force than panache. The
dialog often feels improvised to underscore the off-handed
Faye Dunaway as the alluring rhythm of the scenes. Whenever Lester allows the swordplay to
and deadly Milady De Winter. go on a bit too long, he tosses in unexpected moments of droll
humor that liven things up considerably. Adding to the fun is a
recurring chorus of anonymous background characters who
mutter snarky asides about the mishaps of the featured players.
Among the starry cast, Michael York makes the most of D’Artagnan’s brash and bumbling
country bumpkin, while Oliver Reed brilliantly captures the brooding spirit at the heart of
Athos. Reed, in particular, seems to relish the opportunity to play a sullen musketeer whose
unshakable passion for one woman has convinced him that “life is viewed best from the bottom
of a bottle.” It should surprise no one that Faye Dunaway creates a deliciously evil Milady de
Winter. Dunaway invests the part with a mesmerizing combination of alluring beauty and steely
intelligence. She goes much deeper than Lana Turner ever did with her glamorous turn in MGM’s
glossy 1948 version. Charlton Heston, known primarily for playing heroic good guys in epic
action films, concocts a devilishly beguiling Cardinal Richelieu. He steals nearly every scene he
is in including those opposite the brilliant British comedian Spike Milligan. Frank Finlay as the
vain Porthos makes the most of his limited screen time, while Richard Chamberlain strikes the
right blend of foppish dandy and dashing rogue to nail his role as Aramis.
Michael York and Faye Dunaway and
Oliver Reed
Richard Chamberlain Charlton Heston
3
In Hot Pursuit of the Queen’s Diamonds.
Geraldine Chaplin as Queen
Anne with her devoted lady-in-
waiting and seamstress
Constance (Raquel Welch).
As the romantically inclined is Christopher Lee as the brings a surprising flair for
Queen Anne, Geraldine dastardly Rochefort, primary comedy to the table.
Chaplin creates a memorable henchman to the Cardinal and Spike Milligan, a highly
portrait of a royal whose nefarious partner with Milady respected member of the
delicate surface masks a (Dunaway). Both of them are British “Goons” comedic troop
cunning sense of in cahoots with Cardinal and the Monty Python team,
entitlement. Her clandestine Richelieu to ruin Queen Anne plays the dimwitted Monsieur
romance with the Duke Of by exposing her affair with the Bonacieux with the right dose
Buckingham (Simon Ward) Duke of Buckingham. Lester of stupefying cluelessness.
sets the Musketeers off on a takes full advantage of Rounding out the stellar cast is
harried chase to recover the Rochefort’s eye patch to mine Roy Kinnear as D’Artagnan’s
diamond necklace she has comic gold out of his physical loyal-to-a-fault servant, who
given her lover as a keepsake. liability. Before this film, Lee graciously takes the brunt of
was known primarily for playing many strenuous pratfalls
Equally in step with the Count Dracula in series of throughout the film.
boisterous spirit of Lester’s film British horror films and he
Christopher Lee as the Raquel Welch and Spike Milligan
treacherous Rochefort. are rousted from their marital bed.
4
A breakout comedic role for Raquel Welch.
Best of all is who essentially falls
gorgeous Raquel down all the time.
Welch as Constance Before filming, she
Bonacieux, the requested a meeting
with the director to
devoted lady-in-
figure out how to play
waiting and
the accident prone
seamstress to Queen
Constance. Lester
Anne. Lester gives
suggested she think of
Welch many moments
Buster Keaton or one of
to shine as the klutzy
the great silent film
dressmaker who is
comedians who
forever stepping into
excelled at pratfalls and
spittoons or tripping up
outlandish physical
stairs. Welch wisely
comedy. Welch,
plays it as if she is
however, felt Keaton
blissfully unaware of
was “a bit too dour” and
the physical havoc she
instead found her
wreaks on almost Raquel Welch as Constance,
inspiration in the sweet,
everyone she
self-effacing style of dressmaker and confidante to
encounters. She also Queen Anne.
Stan Laurel. The
projects a convincing
actress said she
brand of demure
borrowed Laurel’s
feminine charm. Quite
wobbly head
deservedly, she won
movements to convey
the Golden Globe for
the endearing naivete
Best Actress in a
of her character.
Comedy for her
performance. During
the Film Society of
Lincoln Center’s tribute
to her in New York,
Welch admitted she Michael York as D’Artagnan
was dumfounded about romances the beautiful
how to play a character seamstress (Welch).
5Vigorous sword fights but few stunt doubles.
Although the film is set in Christopher Lee reported
17th century Paris and the that during one of the more
French countryside, Lester vigorous fight scenes, Lester
found historically accurate implored him to attempt a
representations in the difficult stunt that resulted in a
torn knee ligament. He stated
villages, cathedrals and
that Lester avoided using stunt
castles of Spain. All of the
doubles at every turn. He
exterior scenes were shot in and
wanted the actors doing as
around Madrid and Toledo,
many of the fights scenes as
while the interiors were filmed at
possible to add to the authentic
the Estudios Cinematografica
feel of the film. Lester’s
Roma in Madrid. Location penchant for realism extended
filming took place over the to the ladies as well. Neither Faye Dunaway in
summer of 1973, which was one Dunaway nor Welch relied on
of Spain’s hottest summers on femme fatale mode.
stunt doubles for their climactic
record. Christopher Lee fight scene near the end of the
reported that the temperature film. Welch suffered a sprained
hit 126 degrees Fahrenheit on wrist when she failed to duck as
the day the entire cast filmed Dunaway tossed her on the
D’Artagnan’s induction into the palace floor. Instead of stopping
Musketeers in a sweltering the action, Lester kept the
courtyard. To make matters cameras rolling and Welch’s fall
worse, the actors were wearing is in the final cut.
multilayered costumes made of
cotton and wool along with
leather boots, wigs, hats, stays
and other accessories that were
faithful to the period.
Lester insisted that the
actors be trained in sword
fighting and use real swords in
the fight scenes. This led to
many injuries during production
with Michael York receiving
several cuts, bruises and
scrapes along the way.
Dunaway and Welch battle for the diamonds.
6Elaborate Set Pieces and An Irreverent Tone
The director also in the stark setting of a courtyard with the royal
kept multiple cameras convent courtyard family’s dogs acting as
shooting at the same where the nuns have real life chess pieces.
time to capture the just finished hanging When the Cardinal
spontaneity of each out white sheets to dry. deliberately intervenes,
Lester and his ace he triggers a melee of
scene. This technique
cinematographer, David canine confrontation on
allowed him to finish
Watkin, make terrific the life size chess
the film on schedule
use of color and board. In Richard
and have ample
camera placement to Lester’s cinematic
footage from which to
show how casually the world, few conventions
choose the best takes.
musketeers and the escape his satiric point
Rehearsals were kept
Cardinal’s guards of view.
to a minimum so the
approach their bloody
actors had less time to
battle at the sacred
think about their
site. Other memorable
performances and
Cardinal Richelieu (Heston)
remains above the fray.
more freedom to be in set pieces include a
the moment when the clandestine meeting
cameras rolled. The between two lovers in
film makes the most of a laundry that
several visually rich set eventually erupts into a Frank Finlay as Porthos makes
pieces to showcase the brawl. That is followed the most of his brief screen time.
action. The first major by an amusing game of
sword fight takes place chess on the palace
7The Salkind Clause At some point during Guild) contracts. The dramatic flashback of filming, producers clause stipulates how her tortured love affair Ilya and Alexander many films are being with Athos (Reed). This Salkind decided to made to insure proper segment is very rich in release the film in two compensation for the period detail and separate parts. They actors. romance as it becomes had more than enough The second film abundantly clear why footage to support the appeared a year later Reed harbors deep decision and clearly with the logical title of feelings of hatred understood the financial The Four Musketeers. toward Milady. Their ill- benefits of getting two The decision to release fated romance films for the price of what was originally becomes the dramatic one. But this decision conceived as a under pining for the was not communicated roadshow attraction darker parts of to the actors who had with an intermission as remainder of the story. agreed to appear in one two separate films film, not two. In the doesn’t significantly DVD extras, Raquel affect the viewing Welch states her lawyer experience. The first was the first to catch it film, subtitled The and he quickly went Queen’s Diamonds, after the producers to stands on its own as a obtain payment for her lively swashbuckler with participation in the a decidedly comic tone. second film. Soon after, It gives each of the the other actors joined leading actors (with the the legal donnybrook exception of Dunaway) and agreements were many wonderful Milady (Dunaway) tempts the Duke reached for them to moments to shine of Buckingham (Simon Ward). receive a percentage of throughout the their initial salary for the elaborately staged set second film. This little pieces. The second kerfuffle resulted in the film, subtitled creation of The Salkind The Revenge of Clause which became Milady, gives Dunaway a standard part of all her well deserved SAG (Screen Actors showcase with its 8
AWARDS FOR “THE THREE MUSKETEERS”
1975 BAFTA (British 1975 Evening Standard British
Academy of Film and Film Awards
Television Arts) Awards
• Won: Best Comedy -- Richard
Five Nominations Lester, Director
• Film Music -- Michel Legrand
• Best Art Direction -- Brian
Eatwell
• Best Cinematography -- David
Watkin
• Best Costume Design --
Yvonne Blake
• Best Film Editing -- John
Victor-Smith
1975 Golden Globe Awards 1974 National Board of
Review, USA
• Won: Best Motion Picture
Actress - Musical or Comedy • Won: NBR Award / Top Ten
-- Raquel Welch Films
• Nominated: Best Motion
Picture - Musical or Comedy
1975 Grammy Awards 1975 Writers Guild of
Great Britain
• Nominated: Best Original
Score Written For A Motion • Won: Best British Comedy
Picture -- Michel Legrand Screenplay -- George
MacDonald Fraser
Top To Bottom:
• Faye Dunaway on set with producer Illya Salkind.
• Richard Chamberlain presenting Raquel Welch with her Golden Globe award for
Best Actress in a Comedy.
• Welch and Spike Milligan discussing a scene with director Richard Lester.
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