The assembled cast of The Three Musketeers, 1921
D’Artagnan is introduced to the three musketeers by incidentally insulting all of them. They each challenge him to a duel for what he has done to them, but while he is dueling with one of the musketeers, one of the cardinal’s guards threatens to arrest them because there is a law in which says there is no dueling. D’Artagnan and the musketeers join forces and drive the guards away. Then, d’Artagnan becomes friends with the musketeers. There first m...
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The story was written by Alexandre Dumas during a time where there was a lot of debate between Republicans and Monarchists and this is what inspired by the political aspect of the story. The author was actually a practicing fencer at the time of writing The Three Musketeers and is seemingly inspired by this in writing the story and making it an integral part of the novel.
The page-gobbling revenge plot unfolds a link between her and the profound depression of Athos. His melancholy expresses the emptiness at the core, not just of Dumas's extraordinary powerhouse of a life (which ended in bankruptcy), but of his period. "Distrust everyone," d'Artagnan is advised by the musketeers' captain, M de Tréville. The post-1830 mal du siècle is transposed into the scheming, exciting time of Cardinal Richelieu with its "strangely easy morality" and a dashing gallantry that seemed utterly lacking in the disappointed, hypocritical, ultra-Catholic and then bourgeois years that followed the demise of the Napoleonic empire. D'Artagnan arrives penniless in Paris on a yellow nag and ends as a king's musketeer: the perfect self-made curve for the times, yet spiced with adventure, and echoing Dumas's own abrupt rise to celebrity (his grandmother was a black slave from Saint-Domingo).
Essay on Three Musketeers - 864 Words - StudyMode
La Marr started her film career by writing scenarios, making her major acting debut in one of her own stories starring Douglas Fairbanks, The Nut in 1921. She starred with Fairbanks again later that year, playing Milady de Winter in The Three Musketeers. In 1922, La Marr moved over to Metro Studios and become a major star after starring in Rex Ingram’s The Prisoner of Zenda with Lewis Stone and Trifling Women with Ramon Navarro. The following year she worked with Maurice Tourneur for the first time starring as The Queen in the now lost fantasy comedy The Brass Bottle. Tourneur and La Marr collaborated again in 1924 for a film that she wrote the screenplay for, The White Moth.
The Three Musketeers is about 4 heroes who save the day
But the years seem to fall from her face when she sees Robin again, and they resume in middle age what was essentially a teen-age romance. She renounces her vows - or, rather, doesn't even bother to when Robin leads her on a romp into the fields - and the merry band re-gathers around them. The Sheriff of Nottinghamobligingly appears to take up his ancient feud, and so all of the elements of the story are back in place. It's been said that history repeats itself, the first time as tragedy, the second time as comedy, but Lester and Goldman seem fairly unsure about how Robin Hood's saga should feel the second time around. It was comedy the first time, basically, and their ending this time is tragic. But they want to keep some comedy, too, so a lot of their scenes try to strike two notes. They play some things broadly, recalling Lester's recent musketeers' movies, and then they go in for emotions we're meant to take seriously.
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Dumas's son claimed of his father that he was "a big child I had when I was little". The infantilism of The Three Musketeers gives it its energy, as if Dumas, writing thousands of words a day with his collaborator, Maquet, was not fully aware of what grown-up things he was letting slip past. This torrent of words is kept channelled only by the aqueduct-like construction of plot, with arch upon arch of action roughly corresponding to each number of the newspaper, giving it a quasi-epic feel encouraged by the controlled rhythms of the original French.
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Some critics see the book, not as d'Artagnan's tale of passion, friendship and romantic rescue, but as Athos's terse-lipped story of tainted or damaged love. As the comte de la Fère, Athos promptly hanged his teenage wife on discovering a branded fleur-de-lis (the mark of a criminal) on her bare shoulder - an action that lies like a worrying fault-line at the heart of the novel. When d'Artagnan tears Milady's top and reveals the same mark, we are in the Poe-like realm of the phantom, the revenant: we are never told how she survived. Thus Dumas pins the fantastic to his historical backdrop (Milady is a spy for the cardinal, shuttling ambiguously between England and France) in a way that is uniquely his, just as the swashbuckling gaiety does not preclude ominousness, cruelty and death. Noble Aramis, remember, is a budding Jesuitic fundamentalist, Porthos is "vain and indiscreet", while the wife-hanging Athos forbids his valet to talk on pain of a thrashing.