I like the storyline of this show,it attract me so much

The movie is made so realistic it has a lot of that WoW feeling at the right moments and never tooo over the top. the suspense is done so well and the emotion is felt. Very well put together with the music and all.

Great movie. Not sure what people expected but I found it highly entertaining.

Yes, absolutely, there is fun to be had, as well as many, many things to go boom, all amid an atmospheric urban jungle.

Okay - hands up if you were led here by V for Vendetta. Be honest.But hey - that's very okay. Suffice to say that 1934's crack at Alexandre Dumas' timeless tale of treachery and revenge is a robust and spirited enough adaptation to get your blood pumping as much as everyone's favourite alliterative rollicking revolutionary. The script, while necessarily abbreviated, holds up as one of the more faithful Dumas adaptations as a procedural account of Dantes' methodical vengeful takedown of his betrayers at least until the grand departure of its romantic, very 1930s-populist ending (which is too sweet to excessively fault). Still, the pace is lively and the action plugs along at a compelling jaunt. If the screenplay sometimes dallies with segments spelling out the narrative's themes a bit thickly, it more than compensates with its share of excellent barbed dialogue zingers along the way. Those more familiar with the 2002 Jim Caviezel remake than Dumas' novel might take some adjusting to the pace here, as Dantes' dual with Mondego (restructured as principle antagonist in the remake) is dispensed with fairly early and unceremoniously. Instead, we get a climactic trial sequence (another complete departure from the text), giving Donat a chance to do his best heroic shouting, which feels adequately conclusive in its stead. Being a product of its time, this Count of Monte Cristo's staging restrictions and performance conventions may make it a flatter and calmer rendition than the explosive catharsis our righteous indignation at Dantes' plight might expect or befit (the scenes of Dantes' captivity in the Château D'If in particular feel jarringly civil, compared to the gruelling, inhumane torment Dumas painted). This certainly isn't helped by the somewhat film's cheap, anachronistic costumes, and an overenthusiastic musical soundtrack which soars in to punctuate key emotional moments with such ferocity that it tends to quash rather than heighten their resonance. Still, the film's production values are excellent, juxtaposing some key location footage (Dantes' daring underwater prison escape is perfectly chilly and claustrophobic) with some stellar studio sets - Abbe Faria's cell has the austere artistry of a stained glass window, and Dantes' treasure horde discovery is rousing adventure stuff. Robert Donat is excellent as the titular rogue-hero. He drives Dantes' plunge from chirpy sailor to apoplectically bitter prisoner to debonair aristocrat clouded by acidic ruthlessness with grace and a piercing insistence, handling Dantes' nuances much more deftly than his on-the-nose dialogue. Elissa Landi is also terrific, sliding from warm and giddy to caustic and cautious as his warped love Mercedes, and her bold decision to play up Mercedes' grim detachment rather than mugging for soft focus close-ups throughout the film's latter half plays as appealingly emotionally truthful. Sidney Blackmer and Louis Calhern are appropriately seedy, but a bit too prissy and standoffish to make much of an impact as the villainous Mondego and De Villefort; however, Raymond Walburn is a colourfully boorish, charismatic highlight as greedy, corrupt banker Danglars. Finally, character actor O.P. Reggie is warm slyness personified as the cheekily inspirational Abbe Faria, Dantes' friend in captivity. Released the year before Captain Blood, it's easy to see Monte Cristo settling into the 1930s resurgence of seafaring adventure films. Director Rowland V. Lee feels most at home with Dantes' adventures at sea and crisply energetic sword fights than the talkier melodramatic romantic angst and political intrigue, which are done suitably, but with less pizazz. As such, 1934's Count of Monte Cristo remains a sturdy and heartily enjoyable Dumas adaptation, and one of the more bombastic and abiding costume dramas of Classical Hollywood.-8/10

I'm not often a fan of British movies, so it was with some surprise that I found myself rather liking this one. It turns out this is actually an American film, with Robert Donat being imported as its star.One thing I liked about this film was the appearance of a number of character actors with whom I was more familiar in their much later roles. I've always enjoyed Louis Calhern, and this is, perhaps, the earliest film in which I've seen him (although he dates back to the silent era). I also rather like Sidney Blackmer, and this is the earliest film in which I've seen him ("Heidi" with Shirley Temple was a bit later). And Raymond Walburn, who we usually see as a comic buffoon, is here one of the villains.I appreciate Robert Donat much more after watching this film, although he was less believable as a young sailor early in the film than he was as the Count Of Monte Cristo later in the film.Elissa Landi, an actress with whom I was not familiar, was not very impressive here as the female lead. In some small way...the way in which she pouted with her mouth...was very distracting (or should I say just down right poor acting).This is a story of revenge, and a darned good one. Highly recommended, and perhaps deserving of a spot on your DVD shelf.

What a wonderful actor Robert Donat was, though he never was a Hollywood star in the sense that Clark Gable or others were. Instead, he was content to stay home in England until summoned to work. Because of chronic asthma, that wasn't a lot, and only once in Hollywood, for this film, "The Count of Monte Cristo." There have been numerous tellings of this tale, with lots left out from the novel due to time constraints. Also, as one reviewer pointed out, one begins to dislike our hero as the book goes on.This version, in black and white, has a real "old world" feeling, a marvelous cast, and an excellent characterization by Donat of a man seeking revenge on those who sent him to prison for years. The cast includes Elissa Landi, Sidney Blackmer, Louis Hayward, and O.P. Heggie.Highly recommended, but there's lots more to the story. Check out the Dumas novel and the Gerard Depardieu version for more.

Alexander Dumas's tale of revenge made for this very fine film with Robert Donat and Alyssa Landi.Imprisoned by the actions of 3 scoundrels, Edmond Dantes is able to escape from his fate in prison to come back to France and wreak havoc on those who condemned him.This is a tale of absolute treachery during the Napoleonic era and beyond.Robert Donat totally captures the role of Dantes, a sailor, who is taking a letter and then is trapped by those who see this as an opportunity to get rid of him, especially Sidney Blackmer, who courts Alyssa Landi, the love of Dantes'life. He is well supported by Landi, who shows a clear cut vulnerability as his lover, even after 20 years have passed.There is not only revenge by swashbuckling duels, but by intelligent thought, design and inevitable financial and political ruin for the culprits.