#Albert de Morcerf

[oroontheheels]

sorry i had to

[krokonoko]

what if grown up Albert takes after his parents both in height and handsomeness. as a treat.

[vickyvicarious]

It showed a young woman of twenty-five or twenty-six, dark in colouring, her burning eyes veiled beneath languorous lids. She was wearing the picturesque costume of a Catalan fisherwoman, with a red-and-black bodice and her hair held back with gold pins. She was looking at the sea, so that her elegant figure was outlined against the two blues, of the sky and the waves.

Oh man. I didn't notice this detail the first time through. This portrait, that Mercedes had commissioned while Fernand was away, depicts her in her old status of Catalan fisherwoman. Of course, it's idealized somewhat, made into just a costume - she certainly didn't seem to have the funds for gold hairpins back in the day - but she deliberately depicted herself in the life that they've left so far behind by now. And what's more, she's looking out to the sea... perhaps towards the island where Edmond was imprisoned.

This completely explains why she had it done without him around to say no, why she can't look at it without weeping. Why Fernand hates it so much. Why Edmond is frozen staring at it for so long.

Albert's oblivious comment that the painting is the only conflict he's seen between his parents takes on a completely new light as the only time Mercedes expresses her own regrets and former love openly, even if in a fashion that still wouldn't be understood except by those already in the know.

[jeanlib]

[ninadove]

If I had a nickel every time a guy whose name starts with an F was plagued by the horrors while his friend whose name starts with an A is blissfully unaware he’s in the eye of the plot hurricane…

[glasscandywitch]

mors certa, hora incerta! gankutsuou + the count & albert: a death and the maiden collection - adolf hering // edvard munch // león jean pétua // hans sebald beham

[waterlilyvioletfog]

Twice now (I’m at Valentine’s poisoning) twice now someone Dantes loves has shown up at his house and been like 🥺😭☹️😩😫 noooo Count pleeeeaaaassseee you can’t do your revenge on the children of the guy who wronged you. Because I love them!!!! 🥺😩😭🙏🥺 and the Count just goes 😠😤🤬😑 ugh I hate you. FINE 🙄 just this once I’ll be nice! I’ll save their life ughhhhh smh you plan out this big fucking revenge and it goes badly. why? because of stupid emotionsssss I hate it hereeee 🙄🫤 here’s $2 million dollars 💰

[animefeminist]

Achieving Whiteness Through Social Mobility in Gankutsuou

SPOILERS: Detailed discussion of the entire Gankutsuou series.

There have been many adaptations of The Count of Monte Cristo by Alexandre Dumas.  Some have tried to simplify the story to make it easier to fit into a constrained time limit, while others were so faithful to the plot that the spirit is entirely lost. Gankutsuou, by contrast, is arguably the best adaptation of The Count of Monte Cristo while also being its own original story.

It’s evident that the creative team behind this series had a lot of love for the source material that they were able to capture the nuances of what made the book a compelling drama to read.  Unlike the previous adaptations of the book, which overwhelmingly cast white actors for all the roles, the anime makes a point of depicting the main characters as people of color, specifically brown characters.

This racial aspect of the main characters is actually a more accurate portrayal of what they look like in the book—Alexandre Dumas goes into detail describing the race, ethnicities, and social status of his main characters. He also goes a step further to complicate this tale of vengeance by depicting the notion that, for these marginalized characters to be able to move up the social ladder, they effectively had to erase any historical ties they had with their respective communities in order to become part of high society.

Read it at Anime Feminist!

[sweetmaggie]

The Count of Monte Cristo characters as textposts

[bellahunterrrrrrrrrrrrrrrrr]

Reasons Why The Chapter 'Unlimited Credit' is my favourite:

Danglars has FAKE ART AND it CLASHES WITH THE BEADING THAT DECORATES HIS CEILING??? What a loser 

Danglars: ‘Monsieur, no one has yet found my funds to be wanting’ Dantés: ‘so it seems I shall be the first 💅🏼

THE COUNT KEEPS A MILLION BUCKS IN HIS POCKET!!!! YOU MIGHT AS WELL GET YOUR DICK OUT AND SWING IT AROUND

‘A man like Danglars needed to be bludgeoned’ 🙃

Danglars with one last-ditch effort to show the Count how cool and rich and worldly he is: ‘i thought I was rather well acquainted with all the great fortunes in Europe; but I have to admit that yours, though it seems to be considerable, had entirely escaped my notice. Is it recent?' The Count: no hehe  

HAHAHAH DANGLARS IS LIKE COME SEE MY ART IM A CONNOISSEUR ITS REAL I SWEAR 

[mushi-shield]

[fayevalcntine]

Another reason why the possibility of a potential romance plot between Albert and Haydée (from the book story) annoys me is because it doesn't really work without at the very least changing up the characters in some way and therefore losing out on the complexities of the story itself.

Albert is, despite his naivety and kindness to his friends and the Count, also very sheltered and spoiled. His immediate reaction to finding out about his father's war crimes and the fact that Haydée was talking about him when she was recounting her life story to Albert isn't disgust towards his father, or even worry about the people that were wronged. It's anger towards the Count for 'tricking him' and shedding light on his father's crimes. It's only once Mercedes tells him about Edmond Dantes that he even begins to realize the depth of his father's corruption, but Haydée's experiences as a girl sold into slavery have little to no bearing on Albert.

Haydée has no interest in going after Fernand's family, even when he not only killed her father but also made sure she and her mother suffered a horrible fate in order for there to be no one to come after him for his wrongdoings. But Haydée is also not naive or just a limited sheltered girl that has no say in her household or is just there for the Count's bidding. She simply chooses to become involved when she wants to, and that is namely Fernand's trial. I get that it's easy to dismiss how little we get of her as a character in the book and that meaning that she's an underdeveloped one, but the tone in which she talks about the Count and anyone else can easily tell you that she loves him because he respects her. She's able to have the life she has now because of him; he speaks her language and honors her affinity for her own culture, and never tells her to leave it behind once they're in France. Just for her to learn the customs in case she decides to stay in the country for whatever reason she chooses.

Compare that to Albert's subtly objectifying view of her before he even meets her or not knowing her language. I'm not saying this to make Albert seem disrespectful on purpose, but it's clear why the only reason Haydée even gives him the time of day is because the Count speaks on his behalf and calls him a friend of his.

[ninjiniz]

Source: vassilischneiderfan on Instagram

Help they're so cute together 😭

Such a shame they didn't really have screen time together, I would have loved to see the relationship between their characters.

[jeanlib]

Nicolas Maupas on set of The Count of Monte Cristo

[fandom-sailor-of-ships]

vicomte Albert de morcerf <3 (Ilovehimsomuch)

[glasscandywitch]

“Rather than creating a simple thrilling revenge tragedy of “It’s been done to me so I’m doing it back!” I was aiming, in this day and age, to create this kind of work. If a person should be faced with hatred from another, what kind of a relationship will be born from the way they act towards them? How should people face one another? It is these things that I felt I should focus on. In the 23rd act, it is not simply a matter of Albert saving the Count with the purity of his heart. Towards a person who will not face him and who his words will not reach, what kind of action will Albert take? And, conversely, towards a person who is attached to him and he must definitely kill in order to accomplish his revenge, can the Count’s will persist? I wanted to see that serious/true/hardcore collision. What that means is that up until the end, Albert is Albert and Edmond is Edmond. The two of them might spend their whole lives running on parallel lines, but in spite of that, can they continue to interact with each other? Can they continue thinking [of each other]? That’s probably the theme. If that’s where the words “Wait and hope” are to be found, then don’t Franz’s words “Feelings of love and feelings of hate both stem from caring about a person” serve as the light of that faint hope? That’s what I think.”

From a Mahiro Maeda Interview (x)