Director: Richard Lester
By Roderick Heath
Few filmmakers have experienced such jarring switchbacks of fortune as Richard Lester. Largely neglected now, Lester’s career arc was unusual as an American who found his niche and breaks in Britain, and who was only intermittently able to communicate with his native land, which found his sensibility inimical. But for a time, Lester’s influence on mainstream cinema and television was pervasive thanks to the two films he made as vehicles for some rock band, A Hard Day’s Night (1964) and Help! (1965), works that largely invented the visual lexicon of the new youth-oriented, visually flashy pop culture, and the music video in particular. Lester’s style fused ideas from the French and British New Waves with flourishes borrowed from silent cinema, surrealist-accented pop art, and advertising. The free-flowing absurdism of Lester’s early films still casts a long shadow on comedy film and television—Zoolander (2001) and Scott Pilgrim vs. The World (2010) stand amongst many recent films that owe much to the Lester aesthetic—but riles many more classically minded cinema cognoscenti. That’s partly understandable, for as well as exemplifying their era, Lester’s films often revelled in acerbic humour laced with satirical overtones and post-modern disrespect.
But such attitudes worked in a constant binary with underlying earnestness, conveyed in filmic terms through a deliberate scorn for certain formal qualities that disguises diligent adherence to deeper principles, at once abrasive and romantic, even poetic, culminating in his dreamy, tragicomic masterpiece Petulia (1968). The increasingly bitter flavour of Lester’s ’60s films, including How I Won the War (1967), Petulia, and The Bed-Sitting Room (1969), saw his brand wane, however, as he tried to ask more pointed questions of a zeitgeist he had fostered, but found no one yet in the mood to answer. Lester shifted gears in the ‘70s by moving into the kind of genre cinema he was inclined to send up and yet for which he also had deep affection. The retrospective disdain in which fanboys hold his splendid Superman II (1980) notwithstanding, that film actually represents a climax to Lester’s witty ransacking of the heroic canon in the preceding decade in a series of films that tried to find the beating heart of that tradition even whilst subverting its mystique by looking for the far more earthy, gauche, even venal qualities of legendary protagonists.
Lester’s box office touch remained inconsistent, as did the quality of his produce, but he managed to make several superlative, still highly underregarded pictures, including his icily funny thriller Juggernaut (1974), the melancholy romanticism of Robin & Marian (1976), his deadpan Casablanca rewrite Cuba (1979), and his expansive two-part take on that most famous of historical adventure novels, Alexandre Dumas’ Les Trois Mousquetiers, perhaps the singular achievement of English-language adventure cinema in the ’70s before Star Wars changed the game. In spite of his vast impact on popular fiction and the traditions of swashbuckling later translated into cinema, Dumas has rarely had much luck on film: other English-language versions of The Three Musketeers have featured the Ritz Brothers, Gene Kelly, and Chris O’Donnell, with predictably messy results. Lester’s robustly comedic, antiheroic take seems at first glance as disrespectful as others, except that under the surface buoyancy, the love of adventure, humour, romance, fun, and delicious danger in his adaptations is as pronounced as in any Errol Flynn movie, only with different emphases. Working for the entrepreneurial but fiery Salkind clan who would later produce the Superman films, and with a script adapted by George Macdonald Fraser, whose pungent imperialist satire buoyed the Flashman novel series Lester would soon film, Lester had a large budget and a great cast at his disposal. He produced a diptych that works as a love letter to the merrier pleasures of film.
The opening credits of The Three Musketeers depict D’Artagnan (Michael York) and his father (Joss Ackland) engaging in combat, as father teaches son the specifics of his trade. The peculiar visual effects emphasize each movement as a study in effort and force by blurring remnants shimmering around the figures. The secret trick the elder D’Artagnan tries to pass on to his son later proves useless; rather than elegant fencers, Lester makes it plain in intricate, mischievous variations that the Musketeer heroes and the people they fight are hardly nobly refined fighters. Rather they’re full-body battlers who will fight with anything they can get their hands on—wine jugs, sheets, flower pots, rakes; you name it, someone clobbers someone else over the head with it. Lester similarly extracts historically acute humour from the length of time it takes to load a flintlock pistol, or the difficulty in bringing to bear a 17th century rifle. Warfare great and small in Lester’s eyes is mostly a clumsy business engaged in by the unwillingly incompetent or the professionally practical, with talent in its arts defined less by refined skill practiced by everyone from martial artists to Jedi masters than by the physical wit of a monkey and durability of a farm horse.
In this way, Lester looked for the submerged link between slapstick comedy and swashbuckler action, but in a different manner to earlier films that tried such a crossbreed, like the George Sidney version of The Three Musketeers (1948), which featured Kelly, or The Crimson Pirate (1952). Lester adds a ruder physical edge to the rough and tumble that’s actually quite authentic to the rhythms and methods of street fighting from the period, part of an overall texture that suggests this was a far less elegant and gentlemanly time than commonly depicted, for all its fertile aesthetics. Lester’s approach is also at odds with the way blockbuster action would increasingly take on the essential mechanics of slapstick cinema and replace laughs with suspense (at least theoretically) generated by ridiculous destruction of infrastructure and unlikely physical robustness: Lester rather looks for the humour in ridiculous situations that action films usually encourage us to accept straight-faced. This fits well with Lester’s sinuous blend of selectively deromanticised derision and boisterous comedic energy. As such, though Lester’s take on the adventure canon would be supplanted by the more earnest stylings of Lucas, Spielberg, Milius et al. within a few years, the sensibility of Star Wars – Episode IV: A New Hope (1977) and Raiders of the Lost Ark (1981) isn’t actually that different: the marketplace kidnapping in Raiders is actually a riff on a similar scene in the second episode of Lester’s epic. The constantly misjudged or overstretched legerdemain of its characters is the great source of Lester’s visual humour. For example, early in the diptych, D’Artagnan tries to take out Count Rochefort (Christopher Lee), the snotty, one-eyed villain he encounters whilst travelling to Paris, by swinging on a crane rope to knock him off his mount; where Flynn or Douglas Fairbanks would’ve succeeded effortlessly, D’Artagnan misses and finishes up lolling in the mud.
In spite of all this mischief, Lester and Fraser follow Dumas’ tale faithfully and capture its essence. Like his distant descendant in adventuring, Luke Skywalker, D’Artagnan journeys from bumpkin to knight of the realm, leaving home with romantic ideals and paternal advice that soon prove inadequate to reality’s shifting mores. With his family sword smashed and his head battered by Rochefort’s goons, he faces up to the Musketeers’ commander Treville (Georges Wilson) weaponless and penniless. Forced to find a way to prove himself up to membership in the Musketeer corps, he quickly earns himself three duels in a row with the scabrous trio of Athos (Oliver Reed), Aramis (Richard Chamberlain), and Porthos (Frank Finlay) during an attempt to chase down Rochefort. Before he can fight Athos in the courtyard of a convent, however, the quartet are interrupted by members of the personal guard of Cardinal Richelieu, who, seeking a chance to bust Musketeer heads and increase the Cardinal’s power under the cover of enforcing an anti-duelling edict, assault them. The Musketeers and D’Artagnan win against the larger force, however, and, accepted as a new friend by the loyal trio, D’Artagnan gets a share of money taken from a defeated enemy’s pocket.
D’Artagnan is able to set himself up as a cadet with a servant, Planchet (Roy Kinnear), and he chooses to live in the house of geriatric weirdo Bonacieux (Spike Milligan), less for the quality of lodgings than for the presence of Bonacieux’s young, buxom, haplessly clumsy wife Constance (Raquel Welch). D’Artagnan falls immediately in lust with Constance, whose day job as dressmaker to Queen Anne (Geraldine Chaplin) proves the surprising ticket to great affairs of state, as Constance is confidant to the Queen’s romance with the English Prime Minister, Lord Buckingham (Simon Ward). Richelieu (Charlton Heston) hopes to tighten his grip on the malleable dimwit, King Louis XIII (Jean-Pierre Cassel), and seeks to disgrace the Queen through this illicit romance. Richelieu turns to his operative Rochefort, who has his lover and partner in crime, Milady de Winter (Faye Dunaway), pilfer studs from a diamond necklace the Queen gave to Buckingham, whilst Richelieu manipulates the King into revealing the affair. D’Artagnan volunteers his and his friends’ aid when he overhears Constance asking her husband to help, and the foursome dash to the Channel. Athos, Porthos, and Aramis are wounded by the Cardinal’s many assassins, but D’Artagnan gets to England and regains the rebuilt necklace from Buckingham. D’Artagnan makes it back in time, and the Musketeers, still alive, if tattered, help as he breaks into the palace and gives the necklace to the Queen. Seeking revenge, Milady seduces D’Artagnan whilst Rochefort kidnaps Constance: D’Artagnan discovers Milady’s secret shame whilst the Musketeers rescue Constance, and when Richelieu sends Milady to arrange for Buckingham’s assassination to prevent him helping Protestant rebels, she demands payment in the blood of the two lovers.
It was almost inevitable that Lester would take on Dumas, having already channelled his influence in the cinematic concept for The Beatles in A Hard Day’s Night: four sharply contrasting, yet ultimately loyal friends who are most effective when together. The Salkinds provided Lester with an amazing cast of ’70s notables, befitting a drama in which every character requires a larger-than-life vivacity and charisma. Of course, of the three Musketeers, only Athos is a real character. Aramis, with his smooth ladies’ man style and religious affectations, and Porthos, a poseur who’s really a blunt instrument, are there for entertainment in the margins. In particular, Finlay delights in depicting Porthos’ efforts to maintain a respectable front whilst always giving in with disgust and gusto to the necessity of the moment.
Reed was cleverly cast as Athos, a boozy warrior-poet with secret sensitivity and half-quelled demons: it’s hard not to see it as the actor’s most perfect character avatar. Athos’ crucial revelation of his background and the romantic tragedy that caused him to leave behind his aristocratic life waits until the second film. The revelation cues both a fine piece of acting from Reed and one of Lester’s most splendid, visual epiphanies, a flashback that reveals Milady was his wife, branded with the mark of criminality, fairy-tale beauty in stained glass and flooding sunshine giving way to pungent physical horror as Milady’s branding is shown. York, at the height of his boyish Aryan beauty, is suitably dashing, with the correct amount of callow blitheness. Lester finds the embryonic James Bond aspect of D’Artagnan as he greedily, but essentially innocently, seduces married women and hops beds with impunity according to the bawdy precepts of the day. Nonetheless, under the colourful surface of Lester’s films they are, in following Dumas, a chronicle of D’Artagnan’s coming of age.
There’s a bildungsroman secreted somewhere in this tale, in spite of Dumas’ avoidance of most moral lessons, except the final, blunt one D’Artagnan learns through Constance and Milady. He takes what life offers as shamelessly as the Musketeers loot felled opponents’ purses and steal from a tavern under the guise of a brawl when money’s low. Lester is hip to the proto-existential lives of the Musketeers critic Terence Rafferty once acutely diagnosed in Dumas, as men who regard the political quandaries whirling around their heads with complete disinterest, caring only about their own small corner of history. “Y’know it strikes me we’d be better employed wringing Milady’s pretty neck than shooting these poor devils of Protestants,” Porthos declaims in one of the few moments of macrocosmic contemplation, “I mean, what are we killing them for? Because they sing Psalms in French, and we sing them in Latin?” To which Aramis ripostes, “Porthos, have you no education? What do you think religious wars are all about?” In a modern setting Porthos’ qualms would be the stuff of great drama in a moral struggle, but in the period context, Lester and Fraser follow Dumas in making them essentially absurd: life is generally short and brutal anyway, so who cares? The machinations of Richelieu take place on a plane far above the roundelay of eating, drinking, fighting, and fornicating that is the life of the Musketeers.
Lester’s improvisational sketches on the framework of Dumas’ tale elaborate this blithely cynical attitude to period society into a veritable systematology. The films’ surfaces are rendered in dazzlingly lacquered colours, gorging the eye with lush framings of lovingly wrought costuming and décor evoking all the pretences of this past, enabled by David Watkin’s graceful photography. Washer women labour, soldiers drill, markets bustle, fine ladies entertain themselves, and eminences strut in showy apparel amidst scenes of gritty commotion or refined leisure in shots that could have been culled from Tintoretto or Rembrandt. But scratching those surfaces is an insidious humour that eats away at the historicism with scabrous modernity and bolshy perspective in contemplating the human reality of a hierarchical society, and the marginal people in historical dramas suddenly gain voice. Lester’s familiar device, pioneered in the likes of The Knack…and How to Get It (1966) of using multitracked sound and post-dubbing to fill out the aural margins of his films with onlookers and bit players whose under-the-breath mutterings, bellyaching, quips, and insights offset and comment on the main action, here is used to eat at the material, termite-like, in Lester’s extended piece of film self-criticism. One classic example of this comes in The Four Musketeers when Milady’s litter bearers, after setting their employer on terra firma, turn away and start grousing: “Bloody arm…she’s put on weight.” “Yeah, why don’t she buy a horse?” Or a mob of washer women waving farewell to a departing army, with cries including “Y’better come back and pay – I’ll find ya if y’don’t!” and “Nice to see the back of them then.”
The offhand quality of Dumas’ drama, with the Musketeers serving less the rather unimpressive humans who fill the great roles of state than the ideal of those roles and their own honour and desire for action, is drawn out in this fashion by Lester to become a sneaky kind of substance under the gallivanting. Perhaps taking cues from Ken Russell’s hellish historical satire The Devils (1971), he presents the King and Queen as airheaded layabouts playing about with human toys: the Queen gaily rotating on a hand-cranked merry-go-round and the King playing chess with trained, costumed dogs on a giant chessboard. Richelieu casually demonstrates his strategic mastery by making a move that sets the dogs to chaotic rebellion. Landscapes of teeming beauty are crossed by whining Planchet barely hanging onto his horse, perfectly arranged cotillions in beautifully appointed circumstances whirl around a boob of a king who can’t dance at all, and thunderous cannons blast wide of fortresses as the artillery officer kicks the dirt in frustration for his terrible aim.
The tone becomes even more acidic in the second half when the lunching royals dine blithely in front of trees festooned with hanged criminals. Kinnear, a terrific comic actor who tragically died when recreating this role in Lester’s The Return of the Musketeers (1989), is the engine of much of the diptych’s humour and sarcastic perspective, as Planchet is lumped with every thankless task, from dashing across continents to deliver vital messages to carrying the picnic basket and weapons under enemy fire whilst the others dart off and leave him to it. He’s offset by a female equivalent, de Winter’s servant Kitty (Nicole Calfan): both of them get slapped in the face by their employers and blurt out “Thank you” in return. But Kitty gets the better end of it when she’s able to seduce D’Artagnan while her mistress is out, whereas Planchet’s efforts to play the swashbuckling hero in fights inevitably turn into disasters, as when he tries to uproot a tree to use in bashing Rochefort, or tries to swing into a fray on a rope and crashes straight into the floor.
Although Lester channels elements of the long history of cinematic adventuring in Hollywood and European cinema into his Musketeer films, in many ways, these movies feel closer to Chinese and Japanese historical action cinema, in the conceptual approach to action scenes, the intense, almost otherworldly colours of their period visions, and the carefree blend of comedy and action. Set-piece duels between D’Artagnan and Rochefort, one where they battle in the dark with lanterns that can be closed off, each trying to surprise the other in a dance of dark and light, and another where they try to keep their balance whilst fencing on a frozen lake, certainly feel close to wu xia, though they deliberately lack the physical grace of their Asian counterparts. In a similar vein is Milady’s fondness for exotic and concealed weapons, like glass daggers filled with acid and a hair ornament that doubles as a piercing weapon with which she tries to kill a frantically improvising Constance.
Moreover, Lester revels in his prototypical Steampunk imagination, presenting anachronistic versions of modern machines, gadgets, and gimmicks, from a prehistoric pinball machine to an experimental submarine, all run by gears and muscle, and often contributing to his larger point about the nature of this pre-consumer society where the work of many makes fun for a very few. When D’Artagnan visits Buckingham in London, Lester has a group of Native American warriors gathered in the hallway just outside the Prime Minister’s gorgeously furnished study, as if there’s a Terrence Malick film being shot in the next room (and, figuratively speaking, there is), another sign, like the machines and the griping servants, that the modern world is being born whilst no one is looking. Later, the Indians shock Milady when she tries to assassinate Buckingham and spoil her plan, the oblivious, amused faces of the New World bemused by the beautiful evil of the Old.
Dunaway, at the height of her career and beauty, played many antiheroines in the ’70s, and Milady fits right in, with her trademark neurotically icy glare sharpened to a point where it seems she can disembowel a man at 30 paces with just a look. One of the few great villainesses and a distinctive prefiguring of the femme fatale figure in pulp fiction, Dumas’ creation of de Winter is perfectly embodied, and the one character in The Three/Four Musketeers who is almost entirely in command throughout, both physically and mentally. Dunaway has the wit to play the part deadly straight, the right physical as well as emotive intelligence in her playing apparent in her pause to hitch up her skirts whilst engaging in a murderous cobra-and-mongoose dance with D’Artagnan; her all-in catfight with Welch is actually the most genuinely brutal battle in the diptych. De Winter’s plague-like evil has roots in misogyny and reactionary disgust—Athos, really the Comte de la Faire, almost strangled her dead after discovering she was not the unspoilt gem he thought her—which hints at the motives that drive her even as she becomes pathological in her determined hate for D’Artagnan and Constance, whom she finally strangles to death in a suitably jarring moment of mortal savagery that marks the end of the boyish malarkey.
The Four Musketeers has a touch less drive than The Three Musketeers, but its darker, artier tone and genuinely intense finale mark it as superior, where the overflow of the first episode is a bit like a chocolate buffet at times. Lester displays a finite judgement—not always one he wielded effectively in other films—on when to cool the hijinks and let the story’s compulsion grow. He brings out richer hues and undertones to the adventurers in the second episode in Athos’ guilt and hate, Rochefort’s perverse ardour for and control over Milady, and Milady’s ruthless behaviour. One salient scene shows Milady, after seeing of D’Artagnan from her boudoir, stripping down and preparing for a bath, only to find the water’s been stained red by dripping blood from Rochefort’s hand, wounded in an earlier scuffle with D’Artagnan. Rochefort spitefully regards Milady and forces her to kiss him to reclaim his potency in a moment that reminds me of James Woods’ sleazy pimp mind-fucking his similarly, professionally immoral prostitute-protégé Sharon Stone in Casino (1995), and with similar psychosexual aspects apparent in the relationship. Lester turns the camera back to the bloody bath to visualise the morbid underpinnings and innate hatefulness of the partnership.
Later, de Winter reverses the roles in her way in a superbly orchestrated sequence in which Buckingham has her imprisoned with his Puritan valet Felton (Michael Gothard) as her guard, figuring the rigid religiose won’t be affected by her charms. But Milady goes to work with her insidiously manipulative genius in pretending to be a secret Protestant, and seduces Felton. The white-clad Milady is rendered suitably angelic in shafts of painterly light in her cell, a fetish figure of suffering that releases the Puritan’s erotic nature as he sneaks glances down her corset. Lester borrowed Gothard from Russell for his capacity to project deeply twisted erotic repression, and his utter capitulation to Milady sees him assassinate Buckingham in the belief his boss has betrayed the La Rochelle rebels—Milady has successfully destroyed another two men.
Milady and Rochefort’s coldly programmatic amorality offsets the Musketeers’ simple immorality and inevitably demands a more engaged reaction to evil from them. The finale set-piece has the Musketeers do battle on convent grounds with Rochefort and his men whilst Milady, now rendered almost hallucinogenically pure in a nun’s habit and bathed in light in her ironic ascension to new heights of villainy, penetrates the interior and kills Constance before being caught by Athos. D’Artagnan, shocked and desolated by Constance’s death, does battle with Rochefort in the convent chapel and skewers him with a broken sword that piquantly sprouts out of his back and into a Bible. Milady is sentenced to be executed by Athos himself, and Lester pulls off a final moment of strange beauty as she’s rowed across a river, emblematic of death, to be beheaded. It’s sad that Welch’s Constance has to meet such an end, of course, but the role gave Welch the chance to send up her own sexpot image whilst showing off surprising skill as a farceur; the result is hardly as empowering as Welch’s badass in 100 Rifles (1969), but it still provides a terrific twist on the stock figure of the victimised lady fair. Everyone else in the cast is noteworthy, particularly Kinnear and Lee, the latter of whom extracts notes of erotic evil, mordant world-weariness (“Perhaps I’ll die of old age,” Rochefort mutters before an incompetent firing squad), and slavish loathing of his master the Cardinal. “I also hate you,” Rochefort tells Richelieu, who replies calmly, in priestly metre, “I love you, my son.” Heston, for his part, extracts every inch of theatrical grandiosity from his role, one of the few real character turns of his career.
“One for all and all for one, which loosely translated means 10 for him, 10 for him, 10 for you, and 10 for me.”