This December we’ve been introduced to an historical adventure by the name of The Three Musketeers: Milady, the sequel to The Three Musketeers: D’Artagnan. You can be sure that more love, loss, and adventure ensue in Part II of this adaptation of Alexandre Dumas’s 19th century classic.
★★★★☆
Milady documents D’Artagnan’s (François Civil) deeper integration into the world of the musketeers whilst he attempts to complete a singular mission—to save his love, Constance (Lyna Khoudri). We first met Eva Green as Milady de Winter in The Three Musketeers: D’Artagnan, but this time she plays an even bigger role, interwoven into D’Artagnan’s journey across France (and even to England). As war between the republican and monarchist factions heats up, political and religious manoeuvring adds another action-filled dynamic for adventure flick fans.
Narratively, Milady expertly weaves a dense plot into an enticing, easy-to-consume package. To start the epic adventure, a montage sequence with dialogue voiceovers recounts the crucial events of The Three Musketeers: D’Artagnan. Although sometimes considered a quick-fix storytelling tool, this technique ensures absolute clarity and the erasure of unnecessary dialogue referencing the past for the sake of the audience. And considering the speed of the montage, it adds to the building anticipation Part I left us with and lures us back into the world of the musketeers. Set off with an expert reentrance into the historical world of 19th century France, there’s only more interest to come as the film unfolds.
The Three Musketeers: Milady leans into the imperfect. Each scene isn’t perfectly crafted, the camera follows them through the action of combat and intense chases, and the performances benefit from it—they’ve not done this over several days, but takes. Some parts feel choppy and quickly edited, but it’s this quickness that curates a fast-paced narrative and constant action. For better continuity, Part I and Part II were shot back to back over a span of 150 days; shooting both films in such a short window, results in a realism that other historical epics lose. Unlike some other epics that take the slower approach, in terms of actual screen time and the build-up to action (take Alexander or Troy), The Three Musketeers: Milady doesn’t hold back. Instead, it takes an approach more comparable to Guy Ritchie’s King Arthur: Legend of the Sword, with both films holding an intense edge in pace and action.
A true historical epic, Milady captures all the chaos and diversion of the geographically far-reaching plot with an ensemble cast that keeps you entertained and experiencing a full range of emotions. One moment you’re laughing at Aramis (Romain Duris) and Porthos (Pio Marmaï) bickering with each other, and the next you’re on a heartfelt journey with D’Artagnan. Though characterisation may seem simplistic, with Porthos assuming the ‘funny one’ mantle, for example, each character manages to leave us begging for more. Unlike previous adaptations of The Three Musketeers, the film strikes a balance between serious historical drama and personality.
Unlike recent blockbuster Napoleon where American and English accents were used in place of French accents (a common trope from the beginning of cinema in historical epic), Milady switches from the French language to English effortlessly, and feels like an ode to historical accuracy and the showcasing of international films on the big screen.
Visually, the grim and dreary settings, the grand castles, and the costumes (thanks to costume designer Thierry Delettre) all impress. From filming locations of the Louvre to the Hôtel des Invalides and Farcheville castle, Milady stays rooted in the authentic past. Each on-location set ensures a visual delight for audiences, and with the exclusion of practically all visual effects (with only minor edits made to modern inventions like signage for example), you can dive right into the 19th century story.
The only minor drawback is you wish for more time with certain characters, like the alluring Hannibal (Ralph Ammousou), a real person and the first Black musketeer characterised in this historical epic. With a mysterious intro and a lot more to offer, Hannibal’s interference and real impact in the plot leaves more to be said. Likewise, Constance and her journey is lacklustre in this sequel. She becomes a prop for D’Artagnan’s fierce loyalty and love, despite having so much more to offer.
Eva Green is the true star of Milady, transforming from a femme fatale one moment to an escaped convict the next. With her consistency within the narrative, coupled with ambiguous loyalties and misleading priorities, Milady de Winter dominates and is another captivating performance by Green.
The Verdict
The Three Musketeers: Milady showcases a historical epic done right, littered with authentic locations, character charm, and a dense plot filled with adventure, swordsmanship, and subtle political manoeuvring. It’s a successful interpretation of Damus’ fiction, and a delight for any fans of historical epic adventures.
Words by Annabel Smith
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