Lagardère, an upstart duelist (Daniel Auteuil) is befriended by the Duke of Nevers (Vincent Perez), the finest swordsman in France, accompanying him to the faraway home of a lover who has produced a child, thus motivating the Duke to marry her. However, the Duke’s cousin (Fabrice Luchini) is not willing to have another heir between him and power, so sends assassins to kill the Duke and the child. A complicated series of events leaves Lagardère to raise the child in secret, and sixteen years later, disguised as a hunchback, he plots to set everything right.
It’s all here: Swordfights, revenge, treachery, intrigue, traveling actors, disguises, insanity, murder, elaborate costumes, vast mansions and palaces, scenic vistas, and a romance that reminds you that all times and places have not matched modern Texan sensibilities. On Guard is a colorful, old-school Swashbuckler. Not like the cheerful Errol Flynn masterpieces, but in the same family as the somewhat darker Dumas adaptations, such as 1934’s The Count of Monte Cristo or 1973’s The Three Musketeers. As a Swashbuckler, there are comedic moments, but they may be absent for long periods in which drama and even tragedy take over.
It shouldn’t be surprising that the story is reminiscent of Dumas, since it is based on “Le Bossu,” written by a contemporary, Paul Féval. It may be unknown on this side of the Atlantic, but it is part of French culture, and has been filmed at least six times. I’m afraid I’ve missed the previous versions; most are out of print. Even this one wasn’t readily available here, taking four years to get to the U.S.
Director Philippe de Broca has no interest in a modern rendition of the material. The duels are not shot too close to see what is happening, the camera does not shake, and there’s not a speck of grain onscreen. It’s all lush colors, heroic music, and swordfights that will make any fan of ’40s and ’50s film nod and exclaim, “Yes, that’s how it’s done.” de Broca sticks with long and medium shots, which are wonderful for the battles, but lack intimacy for character development. It keeps you apart from Lagardère and the Duke’s daughter, Aurore.
On Guard (a poor title; “The Hunchback,” which is the literal translation, would have been fitting) takes its time. It feels like a serial (which the book was). We follow a group of characters and a situation until it reaches a climax, and then we are introduced to many new characters and the plot moves in a new direction. This happens several times. As long as you don’t mind a leisurely stroll, it is captivating.
Daniel Auteuil is flawless as a foolish young fencer who ages into a mature, determined hand of justice. Well, flawless in his acting. His makeup could use some help, since he changes little over sixteen years. In fact, only Aurore, who is an infant at the beginning, appears to show any sign of aging, and she ages about twenty years in those sixteen. Vincent Perez is charming as the Duke who is a little too impressed with himself, while Fabrice Luchini creates a snake of the first order. But none of the actors can retain the viewer’s attention when the beautiful and energetic Marie Gillain enters a scene. She could inspire many acts of daring do.
Lagardère’s plan to correct all wrongs is convoluted; I kept wondering if everything wouldn’t have worked out as well if he’d just walked up and stabbed all the bad guys. That wouldn’t have been as much fun as seeing him masquerading as an amoral hunchback, but it would have been more sensible.
On Guard is the kind of fun Swashbuckler that Hollywood has forgotten how to make. A few subtitles are well worth the price for some stirring adventure.