Neil Doyle THE FOUR MUSKETEERS picks up the storyline where the previous THE THREE MUSKETEERS stopped after the business about the Queen's necklace. Under Richard Lester's direction, the mood is darker now that the wicked plans of Cardinal Richileu and Lady de Winter (CHARLTON HESTON and FAYE DUNAWAY) are about to be executed.The plot thickens as the lives of D'Artagnan (MICHAEL YORK) and Constance (RAQUEL WELCH) become affected by the scheming Heston and Dunaway. Meanwhile, York and OLIVER REED, RICHARD CHAMBERLAIN and FRANK FINLEY, as The Three Musketeers, get caught up in a number of fast moving, boisterous and action-filled adventures that follow the Dumas tale pretty accurately.Even so, watching this film I still have fond memories of the LANA TURNER, VAN HEFLIN, GENE KELLY version of "The Three Musketeers" when I see the plot zooming in on Lady de Winter and her plans for D'Artagnan and Constance. I have an equal amount of appreciation for both.Summing up: A treat, brimming over with a wicked sense of humor amidst all the swordplay.

Ben Burgraff (cariart) THE FOUR MUSKETEERS, the second half of Richard Lester's brilliant adaptation of Dumas' THE THREE MUSKETEERS, carries on the manic adventures of D'Artagnan (Michael York), and his comrades (Oliver Reed, Richard Chamberlain, and Frank Finley), and offers deliriously comic moments (a picnic in the midst of a siege is a comic highlight), but in being faithful to the novel, a necessary but tragic thread runs through the plot, with the deaths of key characters tempering the joy of the ultimate resolution.Because the film wasn't intended to 'stand on it's own', certain elements had to be added, to make the story more cohesive. The most obvious addition is a voice-over introduction by Porthos (Frank Finley), who reminisces about the events on screen. The choice of Finley is a wise one, as he was the most accessible of the characters in the first film, and his "blissfully ignorant" attitude keeps his opening and closing monologues a 'tongue-in-cheek' joy.Politics and intrigue are the order of the day, as Cardinal Richelieu (Charlton Heston, still sleekly villainous) continues his machinations to eliminate French Protestants, and his major opponent, England's Prime Minister, the Duke of Buckingham (Simon Ward). A key player in 'the game' is Milady de Winter (Faye Dunaway, in one of her best roles), who agrees to eliminate Buckingham, if Richelieu will pardon 'in advance' her plans to murder D'Artagnan and his ladylove, Constance (Raquel Welch). The note he signs would become a key element of the story.Hoping to protect Constance, D'Artagnan sends her to an Abbey, then impetuously begins an affair with de Winter, not realizing the woman's ultimate goal. Only the discovery of a 'Fleur-de-Lis' tattoo on her arm, branding her a 'harlot', saves the boy, as it unbalances the woman long enough for him to temporarily subdue her, and escape. The news of de Winter's brand exposes Athos' aristocratic past, and reason for his alcoholism.Just as Van Heflin's interpretation of Athos during this key scene in the 1948 THREE MUSKETEERS was the film highlight, the flashback to a younger, clean-shaven, and dashing Oliver Reed, and his betrayal by Faye Dunaway, who would be branded for her crime, is a high point in the 1974 production. Milady is a calculating, insensitive monster, and as the depth of her potential for evil becomes known, the darkness that is introduced nearly overcomes the film. With a cunning almost feral, she ruthlessly arranges the death of Buckingham, then takes care of Constance personally. Finally captured by the four Musketeers, her doom, while justified, is a jarring counterpoint to the earlier adventures of the happy-go-lucky quartet.Yet the four comrades survive, and with the possession of Richelieu's note to Milady, are not punished for their actions, but granted extraordinary rewards by King Louis. Richelieu himself is impressed by D'Artagnan's amazing talent and luck, and arranges a promotion for the young Gascon.As the four friends leave the Palace, facing far different futures, Porthos reflects on the camaraderie of the friends, and through flashbacks, we are reminded of the glorious adventure we've shared with them. THE THREE and FOUR MUSKETEERS are a crowning achievement in Richard Lester's remarkable career, capturing a 'feel' that no other Dumas' adaptation has ever come close to. While the sequel may lack the unrestrained 'joy' of the first film, when seen together, the overall impact of the saga is unforgettable.They don't come any better than this!

grendelkhan Athos, Porthos, Aramis and D'Artagnan are back; or more precisely, are still here; for the second half of the Dumas novel. As I'm sure most fans know, this was meant to be part of the complete Three Musketeers, before the Salkinds split it into two films. This led to much litigation and the creation of the "Salkind clause" in movie contracts.Spoliers-The film takes up where the first part left off; D'Artagnan and the Musketeers have saved the Queen from embarassment and confounded the evil Cardinal Richelieu. D'Artagnan is now a full fledged Musketeer (although, in the novel, he was still just a guardsman).Now the Cardinal hatches a new plot to persuade the Duke of Buckingham from joining the protestant Huguenot rebels at the city of La Rochelle. Milady is sent to persuade him to change his mind or kill him. Although Buckingham imprisons her, he underestimates the power of her charms. The Duke meets a tragic end and Milady returns to France to seek her revenge on D'Artagnan.Meanwhile, D'Artagnan rescues his mistress Constance and places her in safekeeping. He learns the true identity of Milady and the mystery behind Athos' melancholy.The Musketeers are sent to fight at La Rochelle and uncover the Cardinal's plot to kill Buckingham. Although the other Musketeers care little, D'Artagnan owes a debt to Buckingham and tries to stop the plot.D'Artagnan pays a terrible price for his efforts, but emerges as a lieutenant of the Musketeers. He has taken his place as the leader of the group, but will find little solace in his promotion.As with the first film, the performances are spot on. Everything is the same, as it was filmed at the same time. It is best viewed as a whole with the Three Musketeers.

Ephraim Gadsby Don't watch this movie alone. That is, watch Richard Lester's "The Three Musketeers" with it. The two are actually the same film, shot simultaneously (in fact, the cast thought they were making one long movie, to the extent that they were *paid* for one movie; they later sued, as well they should have). In fact, one who hasn't seen Lester's "Three Musketeers" might not understand this movie. Videos and DVDs should be released only in a double-box.Most "Musketeer" movies are travesties loosely based on Dumas. The 1993 version with Chris O'Donnell is a case in point. It uses little more than the names of characters, and it's woefully inadequate.The script-writer in Lester's "Musketeers" movies was George MacDonald Fraser, author of the "Flashman" series. And Fraser, unlike writers of all other "Musketeer" movies, seems to have read the book. Some of the wildest things in both movies (for instance, Buckingham's shrine to Anne of Austria) are actually from Dumas. The script, rambunctious and silly as sometimes is, is startlingly close to the book.Rumor has it that Lester envisioned "Musketeers" as a project for the Beatles. If this is true, he's fortunate he lost them. The cast is uniformly wonderful. Oliver Reed, Richard Chamberlain, and Frank Finlay are perfect in their roles (Finlay is particularly marvelous as he, not a large man, is able to portray the huge, blustering Porthos). Michael York is a fun D'artagnan. Faye Dunaway and Christopher Lee are suitably evil. Rachel Welch, the Pamela Anderson of the late '60s, shows a flair for light comedy that was not often utilized (most of her other movies highlight her . . . ahem . . . other talents). Charlton Heston is the anchor at the center of the film as the scheming Richelieu. He doesn't have much screen time, but his presence dominates the movies, as well it should. Lester also has small parts filled with amazing talents, including Spike Milligan and Roy Kinnear. Keep your eye on a genuine Frenchman, Jean-Pierre Cassel, as the king (and, much later, in Lester's "Return of the Musketeers", as Cyrano); he's a delight in every scene.Lester's locations are fabulous. His France looks lived-in. One gets the sense of a long, medieval period that has decayed by the time of D'artagnan in the early 1600s, and of a struggling monarchy dominated by the Cardinal trying to rebuild it. Even Cardinal Richelieu, who wasn't really evil, comes off as three-dimensional (compare Heston's subtle performance to Tim Curry's bizarre, anti-historical, one-dimensional inquisitor and fool in the 1993 version).Being "The Three (Four) Musketeers", there are many sword-fights; Lester somehow is not a great action director, but he somehow manages to make each duel unique, and funny. In "The Four Musketeers" he's given us a duel on the ice between York and Lee that's very funny. And the climactic duel in a church is sublime.In 1989 Lester released "Return of the Musketeers" with the same cast. Fraser's brief script for that movie (about 100 minutes) gives us the gist of "Twenty Years After", and is quite amusing and a good coda for the series (it's a shame Lester didn't get a chance to do "The Man in the Iron Mask" with a G. M. Fraser script and the same cast. The version with Jeremy Irons and John Malkovich will do, though it's darker and less loyal to Dumas).On the whole, "The Three Musketeers" and "The Four Musketeers" are the best Musketeer movies ever made. They star men and women who were at the top of their profession at the time. The scripts are superb and there's not a wasted moment. Do not accept lesser substitutes.