The Man in The Iron Mask: Literary Masterpieces (1977)

Alexandre Dumas's classic tale of fraternal squabbling makes a more than satisfactory transition to celluloid with this 1976 made-for-television swashbuckler. Viewers familiar with the more recent Leonardo DiCaprio version may be stymied at first by the non-MTV pace and the rather unhip presence of Richard Chamberlain in the lead role(s). This well-lensed actioner overcomes a somewhat pokey first half to emerge as a terrific adventure, complete with plenty of derring-do, some sharply pointed dialogue, and a wonderful performance by the incomparably malevolent Patrick McGoohan. Rousing fun for burgeoning rapscallions of all ages. Director Mike Newell would later find success in a different genre with Four Weddings and a Funeral. Ian Holm, Louis Jordan, and Ralph Richardson round out the embarrassingly rich supporting cast. --Andrew Wright Amazon.com

The Man in the Iron Mask

No offence to DiCaprio but Richard Chamberlain's duel role of "The Man in the Iron Mask" was definitely better. It amazes me only foreign versions of this on DVD are available. Why not a Region 1 version? Chamberlain did three wonderful Dumas classics, this "The Count of Monte Cristo", and "The Three Musketeers". The first two are not available on Region 1 DVDs after all these years. Great movie that I highly recommend for the whole family. Let's hope someone like Criterion gets the rights for both Chamberlain's Dumas movies that aren't available and does a proper job of releasing them. If you enjoyed this catch "The Three Musketeers" and "Shogun". - C. Luster July 29, 2008

Best Version of the Tale Needs a US DVD

I've watched my VHS tape of this many times, for the tight script, plentiful action, fast pace, rousing score, and wonderful supporting cast (Patrick McGoohan and Ralph Richardson the standouts). But the heart of the picture is Richard Chamberlain's dual performance as the good and evil brothers: mesmerizing to watch the change in expression and bearing as he moves between the two. One of my favorite films. August 8, 2007

non-US dvd; deceptive seller

seller didn't say DVD was not for US DVD players -- worthless -- seller not recommended January 23, 2007

A Case Of Extreme Sibling Rivalry- -17th Century Style..............

This is a very entertaining and well-done television production from the late 1970's, set in 1600's France, and based on the historical adventure novel by Alexandre Dumas. The producers spared no expense for this television movie........the stellar ensemble cast includes many noteworthy names from both sides of the Atlantic, and the lavish French chateaus and castles used for all the location filming are truly spectacular.

The compelling story of identical twin brothers, each the antithesis of the other, and each fighting to become the rightful ruler of France, has been successfully adapted to film numerous times--first in 1939, and most recently in 1998, starring Leonardo DiCaprio in the lead. In this version from 1977, Richard Chamberlain handles the dual roles of the self-absorbed King Louis XIV, and his sensitive, commoner brother, Philippe. Having previously performed in classical period films such as Portrait of A Lady, Hamlet, The Three Musketeers, and The Count Of Monte Cristo, all to much acclaim, Richard Chamberlain brought both experience and panache to this double role. (The American actor became so adept at portraying classical roles, U. S. producers began questioning his ability to take on contemporary American roles.) He gives wonderful performances as both characters, but particularly shines in his work as King Louis XIV, the unscrupulous, reprehensible ruler of France. He demonstrates a seemingly effortless on-screen chemistry with Patrick McGoohan, who gives a memorable performance as the equally loathsome enabler to the King, Fouquet.

Richard Chamberlain's and Patrick McGoohan's noteworthy portrayals are wonderfully enhanced by the exceptional work done by an all star supporting cast. Ralph Richardson, Ian Holm, Louis Jourdan, and Jenny Agutter are all marvelous in their respective roles, adding depth, richness, and overall excellence to the final production.

Though it was filmed almost 30 years ago, this remains a very entertaining and beautifully produced adaptation of the beloved Dumas novel. The movie does not drag, and moves along at a steady pace as it builds to it's rightful conclusion of good overcoming evil, or in this particular case, good brother overcoming evil brother, to secure his rightful place on the throne. June 30, 2005

Richard Chamberlain is excellent

Richard Chamberlain had already proved himself a fine actor before starring in this TV production of "The Man in the Iron Mask," but here he truly gives the performance of a lifetime. Performances, I should say, because he plays two different (VERY different) roles: King Louis XIV and his long lost twin brother, Phillippe.

Louis is a spoiled, infantile (his courtiers know perfectly well to deliberately lose at croquet lest they "risk another tantrum") and often cruel man, who lives in splendor while his subjects starve. He treats his long-suffering wife like garbage, openly flirting and carrying on with other women, and at one point he even viciously rips her wig off in public after calling her a "mountain of sallow flesh." Not surprisingly, no one likes Louis all that much; even his mother is hard pressed to say anything nice about him.

Meanwhile, Phillippe, totally unaware of his relation to Louis, is mysteriously kidnapped from his cozy home and thrown into the Bastille. But it's not what you think -- his kidnappers are the ageing Three Musketeers, who, fed up with their "water lily" of a ruler, have a plan to oust him and replace him with his identical twin, Phillippe. (Though Phillippe was born first and is therefore the rightful king, they insist that he rule as Louis XIV because of France's instability.) The Bastille was a "safe place" to stash Phillippe, or so they thought; at least two people, upon accidentally seeing Phillippe, are struck by his resemblance to Louis. One of them reports to Fouquet, the king's closest adviser. Upon verifying Phillippe's identity, Fouquet breaks the news to Louis, who, quite rightly fearing usurpation, hatches a cruel plan: imprisoning Phillippe for life in a run down castle in a distant part of France. But even that isn't enough: "No one must look upon his face," Louis tells Fouquet. Hence the iron mask, which is locked upon poor Phillippe in a gut-wrenching sequence.

The rest of the movie is about the Three Musketeers rescuing Phillippe, telling him the truth, and proceeding ahead with their plans. Meanwhile, Phillippe falls in love with Louise, a pretty lady of the court who the king is also unsuccessfully trying to romance (and as it turns out, Fouquet likewise tried to romance, and when she spurned his advances, he had her father thrown in the Bastille), and there's plenty of wonderfully intricate plotting.

While the performances are strong all around (except for maybe Jenny Agutter as Louise), it's Richard Chamberlain who carries the entire movie. Phillippe starts out an ordinary person, but his grotesque mistreatment starts to make him almost savage. Not surprisingly, the desire for revenge burns white-hot inside him, and he finally gets to realize it at the end. He also has a remarkable moment when, after having assumed Louis XIV's identity, he meets his mother for the first time: he is so emotional that he can barely get the words out, yet manages to cover it by telling her how beautiful she looks. The queen mother, who of course doesn't know his true identity, beams and says, "My Louis?" as if wondering that maybe now she can finally truly love her son.

Meanwhile, his turn as Louis is admirably restrained. Most actors would not be able to resist chewing the scenery while playing such a vile, decadent character, but Chamberlain instead gives a nuanced, surprisingly subtle performance. Louis is thoroughly despicable, and Chamberlain is clearly having fun playing such a juicy villain, but he doesn't go over the top.

Patrick McGoohan also shines as the clever, vain, heartless Fouquet. He often speaks in a type of growl that reminds me of Jeremy Irons, and his refined sadism is chilling to watch. It makes it all the more satisfying that, in the end, Fouquet is deceived by a simple seamster -- and that he himself is the one who seals his own fate by incorrectly naming Louis as the pretender. May 5, 2005

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