France, 1625. Young d'Artagnan heads to Paris to join the Musketeers, but the evil cardinal has disbanded them. d'Artagnan meets Athos, Porthos, and Aramis, three rogue musketeers, and joins... Read allFrance, 1625. Young d'Artagnan heads to Paris to join the Musketeers, but the evil cardinal has disbanded them. d'Artagnan meets Athos, Porthos, and Aramis, three rogue musketeers, and joins them on their quest to save the king and country.France, 1625. Young d'Artagnan heads to Paris to join the Musketeers, but the evil cardinal has disbanded them. d'Artagnan meets Athos, Porthos, and Aramis, three rogue musketeers, and joins them on their quest to save the king and country.
- Awards
- 2 wins & 3 nominations
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaKiefer Sutherland, Chris O'Donnell, and Oliver Platt all endured six weeks of fencing and riding lessons. Charlie Sheen missed out on all of this, as he was then embroiled in the filming of Hot Shots! Part Deux (1993).
- GoofsIn the shot where D'Artagnan first sees the Queen and Constance riding ahead of the Queen's guard, a modern farm with aluminum silos can be seen in the background.
- Alternate versionsTwo scenes were cut from the German cinema version to secure a "Not under 12" rating (The murder of the prisoner is cut completely (ca. 13 seconds) and the death of the bald headed man in the prison at the end is shortened (ca. 6 seconds).) Second DVD release is uncut ("Not under 16") and bears the note "Uncut version" on the sleeve.
- SoundtracksAll For Love
Performed by Bryan Adams, Rod Stewart and Sting
Written by Bryan Adams, Mutt Lange (as Robert John "Mutt" Lange) and Michael Kamen
Produced by Chris Thomas, Bryan Adams and David Nicholas
Bryan Adams and Sting appear courtesy of A&M Records
Rod Stewart appears courtesy of Warner Bros. Records, Inc.
Featured review
I'll admit it: I liked it
Disney's version of `The Three Musketeers' was made like lightning in order to undercut some other studio's version - or perhaps to prevent some other studio from undercutting Disney, I'm not sure which. In either case it shows signs of haste. There's none of your intricate, dazzlingly inventive swordplay or action sequences; there's lots of competently executed, run-of-the-mill, whatever-works-simplest stuff instead. Characters consist of their costumes and little more. There's el-lame-o dialogue. Anything that separates `The Three Musketeers' - the work by Dumas, that is - from any other swashbuckler, has been ruthlessly excised.
I found myself liking it all the same. The fact that I liked it is a fact about ME, and not the film, which is not, I'll admit, very good. But there is one fact about the film I'd like to draw everyone's attention to. The musketeers clearly think morality is something very important, but their concrete notions of right and wrong are decidedly odd. In fact they're downright primitive: like Aristotlean physics, only sillier. There is so little common ground between the code of honour of the musketeer and our own code that we throw up our hands in despair; we don't even bother to adopt the musketeer's code as our own for the purposes of the fiction; and yet, somehow, our sympathy is always with the musketeer.
I shouldn't say `somehow'. This strange feeling of sympathy is something to write home about when one encounters it in the novel, whereas in the film we have a villain - a cardinal, no less, and who likes cardinals - who all but has horns and a tail. Still, SOME feeling of forlorn bloodlust carries over from the book, to give a tint to what would otherwise be a very colourless film.
I found myself liking it all the same. The fact that I liked it is a fact about ME, and not the film, which is not, I'll admit, very good. But there is one fact about the film I'd like to draw everyone's attention to. The musketeers clearly think morality is something very important, but their concrete notions of right and wrong are decidedly odd. In fact they're downright primitive: like Aristotlean physics, only sillier. There is so little common ground between the code of honour of the musketeer and our own code that we throw up our hands in despair; we don't even bother to adopt the musketeer's code as our own for the purposes of the fiction; and yet, somehow, our sympathy is always with the musketeer.
I shouldn't say `somehow'. This strange feeling of sympathy is something to write home about when one encounters it in the novel, whereas in the film we have a villain - a cardinal, no less, and who likes cardinals - who all but has horns and a tail. Still, SOME feeling of forlorn bloodlust carries over from the book, to give a tint to what would otherwise be a very colourless film.
helpful•62
- Spleen
- Jan 18, 2000
Details
- Release date
- Countries of origin
- Language
- Also known as
- Los tres mosqueteros
- Filming locations
- Hofburg, Vienna, Austria(palace interiors, birthday celebration, final fight scenes)
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $30,000,000 (estimated)
- Gross US & Canada
- $53,898,845
- Opening weekend US & Canada
- $10,621,992
- Nov 14, 1993
- Gross worldwide
- $53,898,845
- Runtime1 hour 45 minutes
- Color
- Sound mix
- Aspect ratio
- 1.85 : 1
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