The Three Musketeers
Tags: action, historical fiction

Plot synopsis:
In Venice, the musketeers Athos, Porthos, and Aramis, with the help of Milady de Winter, steal airship blueprints made by Leonardo da Vinci. However, they are betrayed by Milady, who incapacitates them and sells the blueprints to the Duke of Buckingham.
A year later, d'Artagnan leaves his village in Gascony for Paris in hopes of becoming a musketeer as his father was, only to learn that they were disbanded. At a rural bar, he challenges Captain Rochefort, leader of Cardinal Richelieu's guard, to a duel after being offended by him, but Rochefort merely shoots him while he's distracted. Once in Paris, d'Artagnan separately encounters Athos, Porthos and Aramis and, accidentally offending all three, schedules duels with each. Athos brings Porthos and Aramis to the duel as his seconds and d'Artagnan realizes who they are. Richelieu's guards arrive to arrest them, but, inspired by d'Artagnan, the musketeers fight together and win. All four are summoned before the young King Louis XIII and Richelieu urges him to execute them, but Queen Anne is impressed by their bravery and the king condecorates them instead.
Richelieu instructs Milady, now his accomplice, to plant false love letters among Queen Anne's possessions, steal her diamond necklace, and take it to the Tower of London in order to frame her as having an affair with Buckingham, which would force King Louis to execute her and declare war on England. At this point, the people would demand a more experienced leader: Richelieu himself. In order to secure her own position, Milady demands that Richelieu declare in a written authorization that she is working on behalf of France.
The false letters are found and given to King Louis, who is advised by Richelieu to set up a ball at which Queen Anne would be forced to wear the necklace. If she doesn't, then her affair is real, and there will be war. Queen Anne's lady-in-waiting Constance Bonacieux discovers Richelieu's plan and pleads with the musketeers to stop him. They follow Milady and Buckingham to London, while Constance is captured by Rochefort for helping the musketeers to escape from him.
In London, Milady tells Buckingham the musketeers have arrived to take revenge on him and teaches him all their tendencies in battle. D'Artagnan is captured, but turns out to be a decoy, allowing his associates to steal Buckingham's airship and rescue him. Milady's getaway coachman reveals himself as the musketeers' manservant Planchet and delivers her to his masters, who retrieve the necklace from her. Athos prepares to execute Milady for her treachery, but she leaps off the airship, apparently dying on her own terms.
The musketeers depart back to Paris, only to be intercepted by Rochefort in another airship, as Milady had given Richelieu copies of da Vinci's blueprints. Rochefort offers to exchange Constance for the necklace, but captures d'Artagnan and orders an attack as soon as he retrieves the jewels. His superior airship has the upper hand and severely damages the opposing ship, but the musketeers manage to crash both onto Notre Dame. On the roof, d'Artagnan duels and ultimately kills Rochefort. Constance is sent ahead to quietly return the necklace to Queen Anne.
The musketeers arrive at the ball and, for the sake of King Louis and his people, lie by claiming that Rochefort tried to sabotage an airship that Richelieu built for them, and that they executed him for his treason on Richelieu's permission. To convince the king, Athos presents Milady's authorization, which the former accepts. Richelieu, satisfied, offers the musketeers a place in his army, but they refuse, and Richelieu vows they will come to regret their decision.
Meanwhile, Milady is found alive at the English Channel by Buckingham, who declares his intention to exact revenge. He is then revealed to be advancing towards France with a massive fleet of battleships and airships.

Review: Interesting version.
This is quite an interesting version of the 3 Musketeers.
It does not follow all of the book, and ends about half way into the book.
I thought Walter Abel was great in this version.
If you see the 1948 Gene Kelly version, you will note that Kelly definitely copies the Abel look for the hero.
Also another great film score.
Favorite scenes include, the Assembled body of the Musketeers at their fencing exercises, and the meeting between the Queen her English lover.
Action packed, because it is shorter than most versions, and quite stirring..
Solid Entertainment From Aged Swashbuckler.
In 1625 an ambitious youth joins forces with THE THREE MUSKETEERS to save the French Queen's honor from the machinations of the cruel Cardinal Richelieu.RKO does Dumas proud in this rousing version of the ancient swashbuckler.
Too long ignored or slighted as dull or drab, it is in fact lavish & lively, with dashes of welcomed humor, and should keep the interest of most uncritical viewers.
The absence of any major stars is actually a benefit, as the plot is able to speak for itself without being sifted through the skein of celebrity.Initially, Walter Abel seems a curious choice for the impulsive D'Artagnan, but his exuberance & enthusiasm quickly envelop the role.
Paul Lukas, Moroni Olsen & Onslow Stevens have fun as the title characters and the fact that there's very little reason to tell them apart does not detract from the overall enjoyment of the film.One could wish for a bit more screen time for Ian Keith & Nigel de Brulier as the villains de Rochefort & Richelieu respectively, but Margot Grahame makes the most of her opportunities as the evil Milady de Winter.Heather Angel provides the romantic stimulus for Mr. Abel, while Lumsden Hare as the Musketeer Captain & mild-mannered John Qualen as D'Artagnan's servant equip themselves well in small roles.
Movie mavens will recognize an uncredited Lionel Belmore as an innkeeper.In his single scene as the Duke of Buckingham, British actor Ralph Forbes reveals the talent which, in a fairer world, would have made him a major Hollywood star.Not surprisingly, the original story has been streamlined & altered in various ways and at least a couple of notable deaths have been omitted, so as to provide a happier fadeout.*****************************************What were the facts surrounding the historical Richelieu & Buckingham?
Since the novel & films make much of their rivalry, a closer examination is in order.Both men rose from semi-obscurity to positions of enormous power & influence in their respective kingdoms.
Each found it necessary to dominate the weak sovereigns whose patronage they enjoyed.
Both endured the utter contempt & hatred of powerful domestic factions allied against them.
And were there ever a flirtation between the French Queen Anne of Austria and Buckingham, it was of a very mild nature.
There certainly was nothing resembling The Adventure of the Queen's Diamonds and all the derring-do associated with it.Armand-Jean du Plessis, Cardinal and Duke de Richelieu (1585-1642), came from a minor gentry family which was saddled with enormous financial debt upon the death of his father.
However, blessed with a very good brain & a manipulative mother, Richelieu used his intellectual charm to advance his ascent through the Byzantine levels of Church hierarchy.
Once having caught the attention of Louis XIII Richelieu never looked back.
Eventually wielding absolute authority, the Red Eminence took as his life's mission to thwart Spanish Habsburg hegemony in Europe and to crush all outbreaks of French Protestantism as they arose throughout the kingdom.For his part, George Villiers, 1st Duke of Buckingham (1592-1628), had his extreme physical attractiveness to thank for grabbing the eye of James I - who liked to dance both ends of the ballroom - and later became the favourite of Charles I as well.
The son of a knight, Buckingham soon rose to an eminence of power and angered the nobles by his monopoly of the king's affections and his arrogant accruement of great wealth.
As a diplomat & military strategist, Buckingham was hopelessly inept and he needed the king's protection to save him from trial in the Star Chamber.
Having failed disastrously in an attempt to succor the Huguenot of La Rochelle, France, he returned to England where he was quickly assassinated by a disgruntled naval officer.
When news of Buckingham's death reached London the people rejoiced in the streets..
All for One and One for All. The Three Musketeers was probably RKO Studio's biggest budget item for 1935.
It's a condensed version of the classic novel by Alexandre Dumas and casts Walter Abel in the lead role of D'Artagnan.Walter Abel had a distinguished career as a fine character actor, but from this film he just not have the charisma needed to carry a whole film.
Ironic that the three most obvious D'Artagnans all were not available in 1935.
Douglas Fairbanks, Jr. was in Great Britain, Tyrone Power was a year away from his break out picture, Lloyd's of London and Errol Flynn was just being introduced at Warner Brothers in Captain Blood.
Why none of those three ever got to play D'Artagnan is a mystery, especially Flynn who did do a version of The Three Musketeers as a radio play.The best bit of acting is from Ian Keith as DeRochefort.
The novel has DeRochefort as Cardinal Richelieu's chief enforcer, but here he's a loose cannon with very much his own agenda.
Paul Lukas makes a brooding Athos although the best portrayal of that role comes from Van Heflin in MGM's version in 1948.This is a decent version of the classic and far superior to what Darryl Zanuck inflicted on the public in 1939 with the Ritz Brothers as Athos, Porthos, and Aramis..
A good adaptation of the classic.
I really enjoyed this old version of the three musketeers.
D'Artagnan was not too well cast but I did enjoy the musketeers.
This movie did an excellent job of following the book and showed a vile Milady De Winter.
There is a lot of the style of older movies in this one, for instance, the four musketeers do a little singing from time to time, but it's surrivable.
I would people who like older movies to give this one a try, it's worth it..
Totally forgettable.
Of all the major American and British sound versions of the Dumas classic made up to 1999, this is easily the worst.
The trouble is in the casting and the direction.
Walter Abel was "introduced" in this film, although he had actually been in films since as far back as 1930, and because this was his first swashbuckling role, the producers didn't know what to make of him.
He has none of the dash of Douglas Fairbanks,Don Ameche, Warren William, Cornel Wilde, or even Gene Kelly, and none of the charming awkwardness of Michael York, all of whom have played D'Artagnan in other films.In fact, Abel gives, in plain English, a bad performance, partly because he is so totally miscast.
Film fans will recognize him as one of those actors whom you see often,but never know what their name is.
He would give better performances later in his career as worried, nervous managers (in "Holiday Inn") or business executives( i.e. Gregory Peck's boss, who falls memorably out the window to his death in "Mirage").
The other roles are indifferently cast and performed--this could be any one of a hundred B-movies--even the villains,and that's the real problem.
A swashbuckler is supposed to be exciting and thrilling,and this one is neither--it's as if director Lee just didn't care..
"Keep your head out of politics, your hand out of dueling, and your heart out of love.".
Cocky young swordsman D'Artagnan (Walter Abel) arrives in Paris and is taken under the wing of three musketeers (Paul Lukas, Moroni Olsen, Onslow Stevens).
First English-language film version of the Alexandre Dumas story.
It's pretty dull stuff.
Walter Abel is painfully miscast.
This was his first starring role.
He would have better luck in his career as a character player.
Film debut of Moroni Olsen.
Three Musketeers movies should be fun, exciting, and action-packed.
This one's tedious.
Even the action is unexciting.
Max Steiner wrote the music and lyrics for the corny theme song.
Hardly his best work.
Watchable but forgettable..
THE THREE MUSKETEERS (Rowland V.
Lee, 1935) **1/2.
This is at least the seventh official adaptation I have watched of the archetypal Alexandre Dumas swashbuckler – the others dating from 1921 (Silent), 1939 (semi-musical), 1948 (for my money, the definitive version), 1953 (French), 1963 (Italian spoof) and 1973/1974 (the popular star-studded two-parter); there are still a few more to go, to be sure – including a renowned French Silent serial and a vintage British TV mini-series which I will be getting to shortly – not counting myriad sequels, offshoots and variations!
Being the first Talkie rendition and emanating from the golden age of the genre, much was perhaps expected of the outcome – especially since its director had just supplied the best-regarded take on another of the author's classic and oft-filmed adventure tales, namely THE COUNT OF MONTE CRISTO (1934); however, it ended up proving so uninspired that the picture has virtually fallen through the cracks over the years – until the recent dusting off, being an RKO production, via Warners' "Archive Collection"!
While the essence of the narrative is there for the most part, the spirit is sadly lacking (despite a script co-written by Lee and the renowned Dudley Nichols); not surprisingly, it looks fairly good – but the cast is variable to say the least!
The worst offenders here are certainly Walter Abel's bland D'Artagnan (he is awkwardly speechless during the opening sequence!) and Paul Lukas' unimposing Athos (with his trademark broken English delivery intact!); the remaining Musketeers are played by Moroni Olsen (a typically rowdy Porthos in his debut) and a young Onslow Stevens (an adequately brooding Aramis) – incidentally, their famous exploits have even yielded a theme tune!
The other famous characters are just as unevenly served – with Ian Keith's Count de Rochefort (for the record, he would reprise the role in 1948) and Margot Grahame's Milady de Winter (who bows out not in the traditional manner, i.e. at the mercy of the public executioner, but rather by leaping off a bridge into the river below!) acquitting themselves reasonably well, while Miles Mander as the King and Nigel de Brulier's Cardinal Richelieu (a part he would tackle four times in all, including the 1921 original and two separate versions, made in 1929 and 1939, of Dumas' "The Man In The Iron Mask") barely register here!
That said, the fencing by Fred Cavens (a master in his art throughout the genre's heyday) delivers the expected goods...but, as a general rule, the positives are outweighed by the negatives – perhaps never more so than when D'Artagnan engages in drunken singing (with his just-met beloved Constance on one arm and the Queen of France{!} on the other being urged to helpfully join in) to escape the attention of the Cardinal's men after a clandestine night-time rendezvous with the Duke of Buckingham!!.
Dated, cheapo programmer.
THE THREE MUSKETEERS is a cheap, 1935 version of the Alexandre Dumas novel made by notorious programmer studio RKO Radio Pictures.
Despite the shortness of the running time this is a plodding affair that looks quite dated to the modern eye.
The heroes are stiff and wooden and the bad guys straight out of a pantomime.It is true that the movie has a sufficient period 'look' to it, although a lot of the locations, like the wooded track which carriages run through repeatedly throughout the movie, are re-used.
This kind of film was crying out to be made in colour because the vibrant costumes are wasted.
The script is lean but lacks decent characterisation although it has to be said the female characters are far better written and more interesting than the male ones and quite alluring at times, particularly Margot Grahame's de Winter.Sadly, the titular musketeers are both interchangeable and dull and Walter Abel's d'Artagnan is hardly a guy to root for; maybe a sanctimonious fellow you'd like to give a good pasting instead.
The sword fights are pretty excruciating and although there are flashes of inspiration here and there (the climactic carriage chase is rather fine) it's not enough to prevent this from being a bore.