There is only one way to sum up this 1997 film from France. It is simply smashing good entertainment. Five years after its release in France, it is only now being distributed in the United States. Romance, non-stop action, suspense, and political intrigue in the king's court mark this 18th century costume drama from director Philippe de Broca. Best known for That Man From Rio and the whimsical cult classic King of Hearts, de Broca seems to see best in period-costume-vision as some people dream only in black and white. A fine cast, first rate adaptation from Paul Féval's novel, and an interesting modern romantic conundrum are brought together seamlessly for a rollicking good time at the movies. The old fashioned swashbuckling, romantic genre is given an up to date treatment without gimmicks or guile. Based on Féval's 1857 novel, Le Bossu (The Hunchback), like his contemporaries Alexander Dumas and Victor Hugo, he uses the misshapen form of a hunchback and fearless nobility to make social commentary on the nature of true dignity and honor.

Bathed in a golden light that authenticates the fantasy adventure aura, the story involves the dashing and reckless Duke of Nevers, (Vincent Perez) whose swordsmanship is legendary. Gonzague, dastardly cousin to Nevers and next in line to inherit should the Duke die, lurks about in the shadows, ever anxious that Nevers may marry and produce an heir. To thwart this he has intercepted the love letters from the lovely Blanche with whom the Duke had dallied the previous year.

The duke encounters Lagardère (Daniel Auteuil) in a sparing match and teaches him a lethal secret fencing move. Raised as an orphan and learning the agility of an acrobat to survive, he too is no slouch with a sword. When Gonzague enlists the treacherous Peyrolles to ambush Nevers, Lagardère happens to be among the band of mercenary killers, unaware of the identity of their prey. The Duke and Lagardère become friends and thus begins the bond between them.

During a dramatic duel to the death, accompanied by some astonishing footwork with the infant child of the duke and Blanche underfoot, Lagardère escapes with the baby and raises her as his daughter. Sixteen years pass and the child grows into a feisty, lovely young woman, Aurore.

It won't do to tell any more of the details. This is a film best walked into cold and simply revel in the sweeping landscapes and vistas pursuers and pursued alike traverse. It doesn't matter that Auteuil has not seemed to age a day in the sixteen years or that a remote cabin in the Alps appears out of nowhere with a fully stocked larder and no inhabitants. The strength instead lies in story and character. Fabrice Luchini as Gonzague makes a wonderful villain, Perez is sexy and charming, and Marie Gillian as Aurore is a multi-dimensional heroine. In short, every minute satisfies.

Infused with just the right amount of sub text and detail about the political climate of the times, the real estate speculation and the beginnings of modern market manipulation, the period comes to life. Fortunes made and lost in quick succession or the heady and superstitious luck brought by signing a business contract on the hunchback's hump are timeless and could be easily translated to be about the dot.com rise and fall. Swirling speculation around the Louisiana Purchase during the short-lived French regency period of Philippe d'Orleans, (played to perfection by Philippe Noiret), adds accurate historical perspective and spice. De Broca captures the lusty, lively essence of the events, the period and subtlety of character for a fully gratifying film.