The ensuing intrigues in Lichtenburg, though predictable, are entertaining enough, but the only thing Monte Cristo-ish about them is that the count adopts several guises and impersonations in his campaign to rescue Zona and her grand duchy from Gurko Lanen. Zona is taken back to Lichtenburg, and Monte Cristo, smitten, follows her. Though her attempt is foiled, it’s stopped in a border incident that draws in the dashing Count of Monte Cristo-or his son, anyway, who now bears the title. Lanen and his jackbooted thugs threaten to usurp Zona’s power, so she attempts to escape to Paris to call for French intervention.

The tale is set in 1865 in the fictional Balkan country of Lichtenburg, whose young ruler (Joan Bennett) is Grand Duchess Zona, a name that cannot be improved upon. Much of the problem lies with screenwriter George Bruce’s story, a predictable cape-and-sword potboiler that’s more Anthony Hope (i.e., Zenda) than Alexandre Dumas, with a proto-fascist villain anachronistically thrown in for good measure.Īt least the proto-fascist, General Gurko Lanen, is played by the lethally arrogant George Sanders, the only man in Hollywood who could out-sneer Basil Rathbone.

Sadly, this mediocre sequel doesn’t live up to its memorable predecessor, never really rising above Pretty Good. Small planned to follow up with a sequel, but Donat bailed and went back to England, so the producer set the project aside until he found a charming new star in Louis Hayward. Independent producer Edward Small’s biggest hit was The Count of Monte Cristo (1934) with star Robert Donat.

The count of monte cristo sequel