The Light’s On At Signpost. George MacDonald Fraser
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of the first film; so was her beheading, and whereas in the M3 the fights had been mostly light-hearted affairs, the final duel of the M4, fought in a church, and ending with Michael York transfixing Christopher Lee against a Bible open on a lectern, was stark and grim beyond the norm for a swashbuckler.
For what it’s worth, I still like it better than the M3, because I do love to jolt an audience, or a reader, and the direction was Dick at his inspired best – I did not take seriously his remark after we’d watched the rough-cut on the little Moviola machine at Twickenham: “One of these days you’re going to have to tell me what this film is about.” He knew, all right, but it wasn’t a conventional costume melodrama by any means. I value it for Oliver Reed’s superb Athos, and the splendid playing of Faye Dunaway against him and Heston and Michael Gothard – the sequence in which Michael is turned from Milady’s Puritan jailer into her lover is one of the best in the two pictures; it did in a few minutes what took Dumas a few chapters, thanks to the expertise of Faye and Michael and Dick. But they were all terrific, and as I once wrote in another book, no screenwriter was ever so fortunate, or more grateful.
One interesting exercise arose from the splitting of the production into two films: I had to write a prologue to the M4, for the benefit of anyone who hadn’t seen the M3. This was done by having a Musketeer voice the prologue over clips from the end of the first film, and worked very well. What intrigued me was that I had to do two prologues, worded slightly differently, one spoken by Porthos (Frank Finlay) for British audiences, the other by Aramis (Richard Chamberlain) for the American market. Don’t ask me why this was necessary, or why it was thought advisable to have Jean-Pierre Cassel’s excellent King Louis dubbed by another actor. There is much about the movie business that I still don’t understand – and that includes such controversial things as percentages which you think are going to accrue, but don’t. I’m not complaining; I was incredibly lucky to be asked to write the M3 and the M4, and I’d have done them for nothing. Well, almost nothing.
Time magazine, like the other journals, was less rhapsodic about the M4, but still complimentary, reflecting that it would be nice to see D’Artagnan and Co. “just one more time.” I thought privately that two Musketeer movies were about as much as the market would bear at the moment, but that it would be fun to do Twenty Years After, Dumas’s sequel to the first book, one of these days – perhaps twenty years after. In fact, it was only fifteen years later that Pierre Spengler, who had been executive in charge of production on the first two films, suggested that we get together again and continue the saga with the Musketeers coming out of retirement to rescue King Charles I from Cromwell’s executioners and face the wrath of Milady’s vengeful offspring.
In the intervening years I had worked with Dick on Royal Flash, with Pierre on Superman, and with both on various other projects which (like so many productions) hadn’t got the length of photography. I was elated at the thought of reprising all the fun of the first movies, and the three of us had the kind of good script meetings that you get only with old friends.
There were two hurdles to get over at the start, the first being that this was Pierre’s production, the Salkinds weren’t involved, and we weren’t going to be able to use any footage from the M3 and M4, which would have been useful for scene-setting, though not vital. I fell back on the old stand-by beloved by scriptwriters and directors in pre-war days: an extended caption on the screen giving the historical background, which is never a happy device, plus a voice-over commentary from Michael York, which helped considerably.
The other problem was a blessing in disguise. Dumas having inconsiderately disposed of heroine and villainess in the first book, there is a decided shortage of interesting femininity in Twenty Years After. I solved this by turning Milady’s avenging son into a daughter, a blonde and beautiful seductress who would also be a dab hand with rapiers, explosives, and miniature crossbows. That done, Dumas’s main plot was straightforward, and needed only the usual cutting and embroidery.
It was fascinating to see the original cast in musketeer uniform again. Oliver Reed and Frank Finlay were showing grey, but Chamberlain was Chamberlain still, and Michael York looked so ridiculously young that a rumour arose suggesting that somewhere in an attic there was a Dorian Grey portrait of him showing the ageing process. Roy Kinnear was as portly a Planchet as ever, Christopher Lee stalked the screen as a formidable Rochefort, and Jean-Pierre Cassel ranted splendidly as Cyrano de Bergerac (with his own voice this time).
In addition to the old hands, Pierre had assembled a first-rate cast of newcomers to the musketeer canon: Bill Paterson was a fine lookalike King Charles and Alan Howard an imposing Cromwell, Kim Cattrall sneered and swaggered it up a storm as the lovely villainess, Philippe Noiret was an urbane, devious Cardinal Mazarin, and C. Thomas Howell a properly stiff-necked and explosive son of Athos. Bill Hobbs was again the fight arranger, and the production wouldn’t have been complete without Eddie Fowlie in charge of props. This was the team that set off for Spain with such high hopes.
It is an excellent rule, and one which I’ve tried to follow with only moderate success, that the farther a scriptwriter can stay away from the actual shooting, the better. For one thing, they’ll just make you work; for another, you have to restrain a mad impulse to get into the act and show them how it should be done. Fortunately, I’ve always been able to master it, and watch the proceedings deadpan – so much so that Lester was once heard to exclaim: “Look at him, standing there in his steel-rimmed spectacles – he’s hating it!” In fact, I wasn’t; it’s just my normal expression.
However, I broke my rule this time. I wanted to watch the old gang at work again, and also to see one particular scene being shot. King Charles I, like most of the Stuarts, was a golfer, and I’d decided it would be nice to see him slashing away in the rough, and wrote a scene to that effect. Dick had the inspired idea of getting Billy Connolly to play the caddy, and the result was quite my favourite sequence in the movie – so, naturally, most of it ended up on the cutting-room floor; there’s a malign destiny that causes that sort of thing to happen. But at least I saw it, and have the whole thing on tape.
I flew home again full of optimism. It was a happy shoot, they were plainly enjoying it, and everything was looking good.
Then the blow fell. Pierre phoned me at home one night, and I remember exactly what he said: “Our old friend Roy Kinnear passed away today.” I couldn’t believe it; when I’d last seen Roy he’d been in splendid form, lying contentedly under a Spanish oak making remarks as Oliver Reed and Bill Paterson rehearsed a scene; now suddenly that jolly, witty, lively man whom everyone had loved, was dead, literally in the prime of life.
It had been a ghastly accident, a fall from a horse in which he suffered internal injuries which proved fatal. It put the production into shock from which it never recovered.
My first reaction was the human one: shocked misery. My second was the professional: what happens to the picture? How much of Roy’s part is in the can? Can the remainder be fixed somehow? Pierre answered these questions: the production would continue, and I was needed immediately in Spain to doctor the script; would I fly out next morning?*
In this kind of crisis there’s only one thing to do: get on with it. Shooting had been suspended for one day, then it continued while I scrounged a typewriter and paper and a copy of the script and retired first to a corner of the production office and then to a trailer beside the outdoor set where I could get at Dick or Pierre or whoever else I might want to consult. Then I read through to see what remained to do.
It could have been worse. Roy’s final scene, fortunately, was done – the grand finale, in which virtually the whole cast rode past in parade. Most of the other scenes could be fixed by using Roy’s double, judiciously shot, and voicing over his lines. “We might get Rory Bremner,” said Dick. I don’t know if he did, but whoever voiced in the lines did a perfect impersonation.
One scene looked impossible – the meeting between Planchet and D’Artagnan near the start of the film, which was absolutely necessary, and just too long to be played with the double’s back to camera. But, think hard enough and it comes: Planchet was in flight