On Guard
Picture: B- Sound: B- Extras: C+ Film: B-
Although not often
considered artistic triumphs, quality genre films make the movie-going
experience a deliciously pleasurable ride. Unfortunately, some of the classic
genres have very few new entrants.
Despite the occasional modern western, usually with Kevin Costner, and
the even less frequent Kurosawaesque samurai flick, many genres are going the
way of the dodo (or VCR). However, in
Philippe de Broca’s 1997 film, On Guard,
is evidence the swashbuckler is not completely dead. In the spirit of the numerous cinematic retellings of various
Dumas novels, On Guard is a breezy
generic recipe that combines two parts clever swordplay, three parts revenge
tale mixed with a healthy helping of touching (albeit creepy) romance and a
dash of humor.
Set in 18th
Century France, On Guard follows
Lagardere, a whimsical, down on his luck acrobat aptly played by Daniel
Auteuil, as he befriends the arrogant, yet charismatic, Duke Philippe de Nevers
(Vincent Perez). Lagardere curries
favor with the peculiarly playful prince by delivering a note that announces a
former lover, Blanche de Caylus (Claire Nebout) is with child. Excited by the news, Nevers, along with
Legardere, heads off to marry Blanche and legitimize his heir. However, the film would not be complete
without a jealous, slighted cousin who is disinherited by this turn of
events. Nevers’ cousin, Gonzague
(Fabrice Luchini), who has an underdeveloped, but nonetheless mendacious, plan
to prosper in French-controlled Mississippi, is now without the proper finances
to complete his speculation. Needless
to say, Gonzague’s resentment is enhanced by a bad case of unrequited love for
Blanche. Attempting to resolve his
economic and emotional maladies, Gonzague hires assassins to murder Nevers on
his wedding day and summarily eliminate all his heirs, save Blanche. Despite his best effort, Nevers falls, but
Legardere escapes with his daughter, Aurore, but not without a promise to his
dying friend: Kill Gonzo.
During their escape,
Legardere and Aurore encounter a band of traveling Italian circus performers (The Seventh Seal meets La Strada) who deceive the masked
marauders by convincing them that they saw a man and child perish in the
river. Free from pursuers, Legardere
raises Aurore as if his own, teaching her fencing, reading and modesty. Through a series of contrivances, albeit
mildly crafty, Gonzague realizes, sixteen years later, that Legardere is still
alive (Nevers’ signature swordplay taught to Legardere reveals his
existence). In turn, Legardere seeks
both to avenge his fallen friend and restore Aurore’s (Marie Gillian) rightful
position in society. However, this forces Legardere to disclose Aurore’s true
past. But in a creepy twist, Aurore seems rather enthralled by this revelation,
which leads to the fruition of an Oedipal complex that would make Freud blush
(ah, the French, they just have a, how do you say…?). Although unconventional and rarely fully developed by the
narrative, the romance has a touching quality; but that often takes a backseat
to well choreographed duels.
While there are indeed a
number of plot holes and some character actions border on the idiotic, the film
is unapologetic about its narrative machinations. The playful humor that tempers the serious moments clearly
reflects the reasons why the French love Jerry Lewis. The film, presented by Koch Lorber films, is presented in
anamorphic widescreen. The 2.0 Dolby
Digital surround sound is a fine mix, but some of the sound effects, especially
during the sword fights, seem overly dubbed.
The soundtrack itself is delightfully playful; even the moments of
increased gravity, the score maintains a reassuring levity. Despite some
awkward editing choices, the film is visually appealing; the lavish period
pieces and beautiful landscapes make it a pleasure to watch. The special features, while promising, fail
to fully deliver. Of note, there are
interviews with the major cast members and the director, but each interview is
edited such that, conversations become stuttered and seemingly cut short. However, the interview with de Broca does
have some interesting information.
Also, the behind the scenes documentary is truly such; few interviews or
sidebars interrupt the camera from filming the happenings that went into
constructing a specific scene. Overall,
On Guard, while not perfect, is an
enjoyable swashbuckler reminiscent of Errol Flynn, just a little more French.
- Ron Von Burg
