I draw most of my inspiration for fiction writing from movies
rather than books. And when I’m writing full-time, I watch love stories on film
as a kind of comic relief from the stress of creative writing and editing. This
worked well when I was recently rewriting my books for digital self-publication.
That is, until I ran through my own DVD collection. No problem, I thought,
there are plenty of features available on Netflix and pay-per-view. I was
interested in love stories so I went out on the web and searched on lists of
best love stories on film. Such a search produces scores of lists, most
associated with IMDb. Sure enough, the lists did the trick. I found plenty of
new titles, enough for months of fresh viewing. But I was also surprised by
some of the films, and good ones too, that didn’t make any of the lists. So I
thought I’d do a two part post on noteworthy love stories that are apparently
not well known.
The first, and one of my all-time favorites is The Count of Monte Cristo, the 2002
version starring Jim Caviezel. We all know the story. Edmond Dantes is betrayed
by friends and spends umpteen years unjustly imprisoned. His fiancée, Mercedes,
marries his arch-betrayer within a month. Edmond eventually escapes, recovers a
huge fortune, and uses it to exact revenge. The setting is post Napoleonic
France.
The first bonus of this film is that its romance is far
superior to that of the original story. So if you’ve read the novel, you’re in
for a pleasant surprise the first time you see the movie.
The other bonus is that it features one of the most poignant
moments of romantic drama you’ll find in any production. Let me try to set you
up for this without acting the spoiler. Edmond has staged the rescue of his
archenemy’s son and that gets him an invitation to the son’s birthday party,
held in the family’s Paris mansion. The whole movie’s drama thus far has built
up to the tension of this scene. Edmond enters the palatial home as the Count
of Monte Cristo, is greeted warmly by the son, who then introduces him to his
father, Edmond’s archenemy, Count Mondego, who of course doesn’t recognize him;
no one does after his imprisonment. The two chat with amiable formality, Edmond
speaking in coded, ironic phrases. The archenemy turns. “May I present the
Countess Mondego.” Mercedes turns and…that’s as far as I can take you. What
follows, as filmmaking goes, is exquisitely staged, with the players turning in
peak performances. And in the scenes that follow, you have something different
from typical romantic drama because of the clash between vengeful intent—an
intent we sympathize with—and love struggling to revive despite all that should
have killed it forever.
If you’re partial to love stories, I heartily recommend this
film. In a future post, I’ll cover two more notable love stories on film that
you’ll never find of any of the IMDb lists.
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