Cloak and dagger film

The cloak and dagger films constitute a cinematographic Genre. The context of these films is that of the times going of the Renaissance the day before the French revolution. Some are inspired by literary works of the XIX {{E}} of Edmond Rostand and especially of Alexandre Dumas.

Very early, this cinematographic kind was the subject of various adaptations. With the the United States, in the register cocasse, it is necessary to quote the Narrow Musketeer (The Three Must-Get-There) of max Linder (1922). It is also necessary to mention, a little later, blazing it diptych of George Sidney: the Three Musketeers (The Three Musketeers) in 1948 and Scaramouche in 1952. In France, if the kind is perhaps treated with less glare, it is culturally closer to reality: French naturally induces the point of lewd joke which is lacking with American and especially, the realizers have at their disposal the iconographic bottom richest of the world: without faking, they can turn in natural decorations, in grinds historical castles or authentic residences… This kind knew in France its greater hours of glory lasting of the Années 1950 - 60. Gerard Philippe opened the way with its famous incarnation of Fanfan the Tulip in 1952. It is then Georges Marchal which took to plume with the Three Musketeers of André Hunebelle (1953), the Viscount of Bragelonne (It Visconte di Bragelonne) of Fernando Cerchio (1954), the Adventures of Gil Blas de Santillane (Una Aventura of Gil Blas) of Rene Jolivet and Ricardo Muñoz Suay (1956). It yielded the place, as of 1957, to Jean Marais which was the hero of the Tower, take guard! of Georges Lampin and connected with Uneven the and Capitan in 1960, the Captain Crashes to pieces and the Miracle of the wolves in 1961, the Mask of iron in 1962. Then it is Gerard Barray which, appearing in a supporting role near Jean Marais in the Captain Crashes to pieces , took the changing, mainly in achievements of Bernard Borderie: the Three Musketeers (in two times, 1961), the Knight of Pardaillan (1962) and Bold! Pardaillan (1964). Barray was also the Scaramouche (Máscara de Scaramouche) of Antonio Isasi-Isasmendi in 1963.

In the kind, one also finds variations humorous like Cadet Rousselle by André Hunebelle (with François Périer and Bourvil, 1954) or histories like Cartouche of Philippe de Broca and Mandrin, gangster gentleman of Jean-Paul Chanois in 1962. Without forgetting the sentimental saga Angelica Marchioness of the Angels of Bernard Borderie with Michele Draper (5 films between 1964 and 1968).

With the the United States, in the Years 1970, Richard Lester marked an impetuous return to the kind: the Three Musketeers (The Three Musketeers) in 1973 and One called it MILADY (The Four Musketeers: The Revenge off MILADY) in 1974.

But it is in France which the kind will find a new breath thanks to the two adaptations carried out successfully by Jean-Paul Rappeneau (that it had already brilliantly approached in 1971 with the Grooms of year II ): Cyrano of Bergerac with Gerard Depardieu (1990) and Hussard on the roof with Olivier Martinez (1995). A female version, the Girl of Artagnan with Sophie Marceau, realized by Bertrand Tavernier in 1994, reinforced this new dash. On the other hand, some comic attempts being connected vaguely with the kind did not attract much public: the Libertine of Gabriel Aghion (2000) or White of Bernie Bonvoisin (2002). There was also a forgettable Anglo-Saxon realization, the Man with the iron mask (The Man in the Iron Mask) of Randall Wallace, with Leonardo DiCaprio in 1998.

Some cloak and dagger films

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