The Count of Monte Cristo (1934)

113 or 115 mins | Adventure | 7 September 1934

Director:

Rowland V. Lee

Cinematographer:

Peverell J. Marley

Editor:

Grant Whytock

Production Designer:

John Ducasse Schulze

Production Company:

Reliance Pictures, Inc.
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HISTORY

The opening frame of the viewed print read: "Alexander Dumas' Immortal Story." According to a Jan 1934 DV news item, producer Edward Small delayed production on this picture while he protested Universal's use of the title The Countess of Monte Cristo. Small told the Hays Office that Universal's title would take "all the edge off his 'Count' and result in confusing the public." Despite Small's protest, Universal released The Countess of Monte Cristo in Mar 1934. This film, which was named one of the ten best pictures of 1934 by the FD "poll of critics," marked the American screen debut of Robert Donat. Although his performance in this film was highly touted, Donat, who was plagued by severe asthma, returned to England after the production and never made a career for himself in Hollywood. According to HR production charts, Harvey Thew and Harry Hervey wrote the film's adaptation, but no other source confirms their contribution. HR production charts add Helen Freeman and Stanley Fields to the cast, but their participation in the final film has not been confirmed. Although an ad for the film credited United Artists Studios as the production studio, HR production charts and news items list RKO-Pathé as the production studio. In May 1938, United Artists re-issued the picture.
       Many versions of Dumas' story have been filmed, including a 1913 Famous Players version, directed by Edwin Porter and starring James O'Neill (see AFI Catalog of Feature Films, 1911-20; F1.0810) and a 1922 Fox version called Monte Cristo, directed by Emmett J. Flynn and ...

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The opening frame of the viewed print read: "Alexander Dumas' Immortal Story." According to a Jan 1934 DV news item, producer Edward Small delayed production on this picture while he protested Universal's use of the title The Countess of Monte Cristo. Small told the Hays Office that Universal's title would take "all the edge off his 'Count' and result in confusing the public." Despite Small's protest, Universal released The Countess of Monte Cristo in Mar 1934. This film, which was named one of the ten best pictures of 1934 by the FD "poll of critics," marked the American screen debut of Robert Donat. Although his performance in this film was highly touted, Donat, who was plagued by severe asthma, returned to England after the production and never made a career for himself in Hollywood. According to HR production charts, Harvey Thew and Harry Hervey wrote the film's adaptation, but no other source confirms their contribution. HR production charts add Helen Freeman and Stanley Fields to the cast, but their participation in the final film has not been confirmed. Although an ad for the film credited United Artists Studios as the production studio, HR production charts and news items list RKO-Pathé as the production studio. In May 1938, United Artists re-issued the picture.
       Many versions of Dumas' story have been filmed, including a 1913 Famous Players version, directed by Edwin Porter and starring James O'Neill (see AFI Catalog of Feature Films, 1911-20; F1.0810) and a 1922 Fox version called Monte Cristo, directed by Emmett J. Flynn and starring John Gilbert (see AFI Catalog of Feature Films, 1921-30; F2.3687). A sequel to The Count of Monte Cristo, called The Son of Monte Cristo, was produced by United Artists in 1941. Rowland V. Lee directed and Louis Hayward and Joan Bennett starred in the sequel. In 1954, Robert Vernay directed Jean Marais and Lia Amanda in a French-Italian version of the Dumas story. Another French-Italian version was made in 1961, directed by Claude Autant-Lara and starring Louis Jourdan. In 1956, a syndicated television series starring George Dolenz as the count was first broadcast. In Jan 1975, NBC broadcast a "made-for-television" adaptation of the novel, directed by David Greene and starring Richard Chamberlain, Tony Curtis and Trevor Howard. Josée Dayan directed Gérard Depardieu and Ornella Muti in a 1998 French television mini-series of the story, and in 2002, Buena Vista released a version directed by Kevin Reynolds and starring Jim Caviezel and Guy Pearce.

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SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
30 Jan 1934
p. 3
Daily Variety
20 Aug 1934
p. 3
Film Daily
10 May 1934
p. 6
Film Daily
29 Aug 1934
p. 7
Hollywood Reporter
9 May 1934
p. 6
Hollywood Reporter
14 May 1934
p. 11
Hollywood Reporter
4 Jun 1934
p. 11
Hollywood Reporter
18 Jun 1934
p. 15
Hollywood Reporter
25 Jun 1934
p. 11
Hollywood Reporter
2 Jul 1934
p. 7
Hollywood Reporter
20 Aug 1934
p. 3
Hollywood Reporter
7 Jan 1935
pp. 6-7
Motion Picture Herald
8 Sep 1934
pp. 16-17, 38
New York Times
27 Sep 1934
p. 25
Variety
2 Oct 1934
p. 37
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
PRODUCER
Prod under the personal supv of
WRITERS
Scr and dial
Scr and dial
Scr and dial
PHOTOGRAPHY
Peverell J. Marley
Photog
Charles Lewis
Asst cam
Asst cam
Asst cam
ART DIRECTOR
FILM EDITOR
SET DECORATOR
Chief propman
COSTUMES
Cost supplied by
MUSIC
Mus dir
SOUND
VISUAL EFFECTS
Spec eff
PRODUCTION MISC
Chief elec
Chief grip
Publicity for Reliance
Publicity for United Artists
SOURCES
LITERARY
Based on the novel Le Comte de Monte-Cristo by Alexandre Dumas, père (Paris, 1844-45).
LITERARY SOURCE AUTHOR
DETAILS
Release Date:
7 September 1934
Premiere Information:
Chicago premiere: 5 Sep 1934
Production Date:
9 May--early Jul 1934 at RKO Pathé Studios
Copyright Info
Claimant
Date
Copyright Number
Reliance Pictures, Inc.
19 December 1934
LP5188
Physical Properties:
Sound
Western Electric Sound System
Black and White
Duration(in mins):
113 or 115
Length(in reels):
13
Country:
United States
PCA No:
166
SYNOPSIS

In 1815, after Napoleon has been exiled to Elba by Louis XVIII, Captain Leclere, a supporter of the former emperor, lies stricken with fever on his storm-rocked ship. Just before dying, Leclere entrusts Edmond Dantes, his first mate, with a letter from Napoleon, which is to be delivered to a messenger in Marseilles. While Edmond accepts his orders, second mate Danglers listens at the captain's door. In Marseilles, Edmond, who has been promoted to captain, is greeted passionately by his beautiful, devoted admirer, Mercedes De Rosas. Mercedes' mother, however, disdains Edmond and prefers the aristocratic Fernande de Mondego for her daughter. To assure his marriage to Mercedes, Mondego helps Raymond De Villefort, Jr., an ambitious Marseilles magistrate, and Danglers to catch Edmond as he passes Leclere's letter. Unknown to De Villefort, the man to whom Edmond is to give the letter is his own father. Consequently, when the police arrest Edmond and the elder De Villefort, De Villefort chooses to release his father and send Edmond without trial to an island prison. De Villefort then has Edmond declared dead, and Mercedes reluctantly marries Mondego. Eight years later, a morose Edmond hears a tapping noise on his prison wall and discovers that Abbe Faria, a fellow prisoner, has tunneled to his cell. The elderly Faria leads Edmond to his cell, which is decorated with the learned friar's writings and drawings, and tells him about a buried treasure, the location of which only he knows. Together Edmond and Faria continue to dig toward the sea, and after five years, near freedom. However, just before they break through the final barrier, Faria is crushed fatally ...

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In 1815, after Napoleon has been exiled to Elba by Louis XVIII, Captain Leclere, a supporter of the former emperor, lies stricken with fever on his storm-rocked ship. Just before dying, Leclere entrusts Edmond Dantes, his first mate, with a letter from Napoleon, which is to be delivered to a messenger in Marseilles. While Edmond accepts his orders, second mate Danglers listens at the captain's door. In Marseilles, Edmond, who has been promoted to captain, is greeted passionately by his beautiful, devoted admirer, Mercedes De Rosas. Mercedes' mother, however, disdains Edmond and prefers the aristocratic Fernande de Mondego for her daughter. To assure his marriage to Mercedes, Mondego helps Raymond De Villefort, Jr., an ambitious Marseilles magistrate, and Danglers to catch Edmond as he passes Leclere's letter. Unknown to De Villefort, the man to whom Edmond is to give the letter is his own father. Consequently, when the police arrest Edmond and the elder De Villefort, De Villefort chooses to release his father and send Edmond without trial to an island prison. De Villefort then has Edmond declared dead, and Mercedes reluctantly marries Mondego. Eight years later, a morose Edmond hears a tapping noise on his prison wall and discovers that Abbe Faria, a fellow prisoner, has tunneled to his cell. The elderly Faria leads Edmond to his cell, which is decorated with the learned friar's writings and drawings, and tells him about a buried treasure, the location of which only he knows. Together Edmond and Faria continue to dig toward the sea, and after five years, near freedom. However, just before they break through the final barrier, Faria is crushed fatally by an avalanche of rocks. While the guards prepare for Faria's disposal, Edmond switches places with the dead man and is tossed into the ocean. Eventually Edmond is picked up by a Spanish smuggling ship and lands on Monte Cristo, the island where Fario's treasure is buried. Edmond unearths the extravagent treasure and, with the help of sailors Ali and Jacopo, initiates a complex scheme of revenge, in which he transforms himself into the Count of Monte Cristo and has Albert Mondego, Mercedes' son, kidnapped. By pretending to rescue Albert, Edmond ingratiates himself with the young man and obtains an invitation to meet the Mondegos in Paris. Although Mercedes recognizes Edmond, Mondego, now a count, and his longtime associates, De Villefort, now the king's attorney, and Danglers, whose illicit banking practices have earned him the title of baron, fail to recollect their former enemy. With great patience, Edmond weaves his plot around the treacherous trio, carefully playing into their weaknesses. First social climber Mondego is publicly exposed as an cowardly assassin and, after a humiliating sword duel with Edmond, commits suicide. Greedy Danglers is then lured by Edmond into a devastating stock investment, which causes him to go insane. Finally, after Albert has proven his manhood by challenging Edmond to a duel, which they both deliberately lose, De Villefort is tricked into discovering Edmond's identity and arresting him. With permission from De Villefort's daughter Valentine, who is engaged to Albert, Edmond exposes the conniving lawyer at his own trial. His revenge complete, Edmond reunites with his ever faithful Mercedes.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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