I have never read Alexander Dumas' classic, but have seen a few film adaptions. This movie may explain the reasoning behind most versions only taking it as far as the jewel theft plot. By trying to cover all the characters and subplots—even with 125 minutes—there is not enough time to develop either. The story lacks a strong central focus and it is all over the place. Just when one thinks it will be wrapped up, it goes "back around" for a second or third time introducing irrelevant characters or repeated sequencing. What follows are my takes on a beautifully filmed costumed extravaganza that is not exactly perfect—but great movie-making.
THE DANCING FOIL
The film starts out as a pseudo-slapstick comedy with the over-eager reactions of Gene Kelly (D'Artagnan) closely resembling a cartoon figure. If Kelly could possibly keep this up, I would have likened his character to Danny Kaye's later perfection in the hilarious film, The Court Jester. One might expect (wish) this to set the tone of the film. Kelley's fencing scenes are excellent and possess enough believability to give a pass on any repetitions. The well-choreographed, opening swordplay—filmed at Busch Gardens in Pasadena—is hilariously explosive and done with great acrobatic skills by Kelly. It is easy to see that he enjoyed the role. This amusing sequence opens the door for an undying friendship with the film's title characters. Kelly broke his ankle about a year before the film's release, and these scenes were some of the last filmed to give him maximum recovery time. So there is physicality better left to professional stuntmen like effortlessly climbing up a trellis to a second story, jumping from great heights or onto a horse. Then again, I doubt Kelly's agent wanted him leaping off rooftops. The humor is in short supply as the film progresses.
CASTING A LOT
Lana Turner gets top billing yet is arguably the least talented of the big-name actresses of her era. Like many Hollywood discoveries, her appeal was strictly physical and her youthful glow which was so magical at the beginning of the decade began to fade. One male equivalent might be Errol Flynn within his first decade. A hint in this film is when she is imprisoned and lacks makeup. I do not know when those scenes were shot, but after casting her in the role, the director wanted her to lose weight. Her face seems squarish and perhaps heavier. Of course, lighting or camera angle has a great effect on visual perception, perhaps as the director envisioned someone imprisoned in a dark cell. Turner still looked astonishing in other close-ups. She simply did possess a strong ability to pull off a self-serving villain. She was reluctant to take the supporting role, not fully understanding it was actually a lead character.
Angela Lansbury campaigned for the Turner role but MGM said no. Turner was the bigger star at the time—Lansbury had no clout. Lansbury seems wasted (now) in her brief appearance as Queen Anne. Quite astutely, June Allyson did not think a period piece was right for her, but her opening scene with Kelly works well. If you blink at the wrong time you will miss Marie Windsor's two brief glimpses. Fans probably expected her to develop into someone, but she is never seen a third time. Very strange. Along the same lines, Patricia Medina—on a career upswing—appears out of nowhere as Turner's maid. The airhead character could have been left on the cutting room floor. Van Heflin brought a heavy-drinking flair to his role with Gig Young and Richard Coote as adequate comrades. Speaking of old coots, Frank Morgan was too much of the Wizard as the king of France. Long-time MGM contract player, Lewis Stone, might have been a better—perhaps the only choice within the studio. In face-altering disguise, it may take a bit of time to recognize Keenan Wynn—until his first sentence—as d'Artagnan's right-hand man.
FLAMBOYANT COSTUMES
The wardrobe department pulled out all the stops (for you pipe organ enthusiasts) with costuming, though some today might take exception to their authenticity. One of Turner's hats, the green feathered black hat pops off the screen and adds about three feet to her height. Vincent Price looked authentic enough—accented in red—and I loved his angled gray/white stripes across his torso for one costume. The musketeers looked as one would expect—like on the candy bar wrapper of the day—in capes, wide-brimmed feathery hats, and vibrant colors.
Despite some questionable casting for a period piece, the film was an entertaining hit with the full MGM splash without singing and magnificent cinematography in dazzling Technicolor. The film's credits can be found on numerous websites as well as a Dumas synopsis if you choose to explore.
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