Caviezel Swashbuckles as Count of Monte Cristo

Three Stars

Is it possible for a film to have too many sword fights?

Apparently the answer is no. Not if it's based on an Alexandre Dumas book.

Director Kevin Reynolds has taken Dumas' epic tale of revenge and transformed it into a compelling mix of big-screen action and dark psychological twists. And he very nearly pulls it off.

In true swashbuckling form, "The Count of Monte Cristo" opens with riveting, well-choreographed swordplay. And the blades aren't sheathed until the finale.

But this picture is not simply another adventure flick. Indeed, while the swordplay is entertaining, the film's main focus is on the fascinating transformation of one man from an idealistic go-getter to a deadly angel of retribution.

"The Count of Monte Cristo" follows young Edmond Dantes (expertly portrayed by James Caviezel) as he is framed by his best friend and imprisoned as a traitor in the menacing island prison of Chateau d'If. His life is then ruthlessly erased as his treacherous friend Ferdand (Guy Pearce) marries Dantes' fiancee Mercedes (Dagmara Dominczyk) and proceeds to bury all evidence of Dantes' existence.

During his internment, Dantes befriends a fellow prisoner (Richard Harris), who takes him under his wing and teaches him politics, economics and foreign languages.

But all Dantes can think about is avenging his betrayal. His mentor holds the secret to an immense treasure, which Dantes finds and uses upon his escape, becoming the enigmatic Count of Monte Cristo.

This sort of transformation is vital to the psychological side of the film. Caviezel shines as Dantes, evolving from the love-struck Edmond into the embittered, "Shawshank Redemption"-esque prisoner and ultimately into the charming, slightly sinister count.

His enemies change as well. Guy Pearce sheds his amiable facade to become a complete and utter bastard. But he is unprepared for the depth of cunning displayed by Dantes, and the predator soon becomes the prey.

The machinations of the characters are entertaining, and the plot twists are clever and surprising, often eliciting a dark chuckle at a conspirator's fate in the hands of the count.

While the first hour and a half of backstabbing and double-dealing is fun to watch, by the end the film turns into a dizzying tale of who did what, which causes the climax to lose some of its impact. And Dumas fans will be left wondering what happened to the real ending.

The excellent directing and sheer skill of the cast carries the film. It makes the viewer wonder what they would do if they were in Dantes' shoes and whether the count is doing right by taking justice into his own hands. Not surprisingly, this same question haunts Dantes throughout his vendetta. But does that stop him?

After all, he's a count. Not a saint.

The Arts & Entertainment Editor can be reached at artsdesk@unc.edu.