Musketeers is one of those shows that I found myself accidentally falling in love with and becoming mildly obsessed with, despite the fact that it’s a hugely flawed production. I’ve always thought it’s a near perfect setup and am astonished that it took so long to become a television series (not forgetting Dogtanian and the Three Muskehounds of course). The four heroes are classic characters, the themes of loyalty, camaraderie, honour and betrayal are pretty universal and there’s plenty of opportunity for action, romance, thrills and humour. I’m guessing the period setting puts people off (although how good could a present day version be?), so it’s not surprising that it’s the BBC that finally took a run at it.
Frustratingly though, it seems the BBC gave up on the show before it even started, showing it hardly any love or support with the basic error of poor scheduling. I’ve always figured that the first season of the show was half written for a family Saturday evening slot to replace Merlin, but then pushed it to Sunday at 9pm, where its tone wasn’t a good fit, marketing was non-existent and its ratings suffered accordingly. Friday at 9pm for the 2nd season wasn’t much better and the 3rd season was announced as the last. By which point the BBC jut gave up altogether and scattered it around the schedules – Friday, Saturday, Sunday, Monday… you name it, it aired there.
You can’t really blame the writers for feeling a bit peeved and lazy, but I wish they’d been just a bit better. The writing has always rather suffered from a focus on what needs to happen to support the immediate plot, often sacrificing the long term consistency. Too much of the previous seasons was spent with Machiavellian villains repeatedly getting beaten in their weekly plot, while the Musketeers still manage to come out behind. The writers took a particular “well sod it” attitude towards things in the final season, basically writing plots and moments to keep themselves happy and playing pretty fast and loose with credibility of both plot and character/relationship development.
The four year time jump between series two and three simultaneously left too much time passing and yet not enough changing. Aramis left them for four years, Athos had to be a captain rather than one of the men, and yet nothing really changed. Other than a couple of remarks, by episode two Aramis was completely re-integrated and Athos still went on every little adventure. D’Artagnan’s character actually did seem to have matured in those years, and the others did treat him more like a peer than a junior. But despite the title of the series, it turns out that it’s Constance who really got the best development. She had some good material in the first two seasons, but in season three she is confident, commanding and a wonderful foil to all the male characters. Tamla Kari’s beautiful performance blended a woman taking control while not losing her emotional core and uncertainties.
The poor consistency for the Musketeers themselves is frustrating because all the actors are more than capable of great performances, individually and as a group they’re hugely charismatic and versatile making each character a complex individual building from the classic archetypes. The characters and actors play off each other, always forming a balanced set. Athos, Porthos and Aramis as the triangle in everything – sword, fists and gun; head, heart and soul, thought, action, words – while D’Artagnon is always in the middle, tying them together or pushing them apart depending on what’s needed. You could pick any small scene and watch the poetry in motion of the actors and characters working and moving together to make a unit. Individually they’re ok, but together they’re wonderful.
Unfortunately, I’m not sure the writers fully understood that and it was the very last episode that left me frustrated both as a critic and as a fan. The writers knew this was the final season and they wanted to basically go out with a huge bang while also tying everything up in a perfect bow. This required some particularly clumsy manoeuvring to get people (and history) in the right places. As a critic it was a frustrating exercise in fan-service with very few of the happy endings really feeling like they were earned. But the bigger problem is that as a fan, I still wasn’t satisfied.
You see the final resolution for our four musketeers is that each of them individually get their happy ending. Athos who had been driven to be a soldier because of the betrayal of his wife, gets the girl and a baby on the way and leaves soldiering for them. Porthos who had come from the streets and was treated as the muscle, is recognised for his leadership and strategising and made a general. And spontaneously gets married to a woman who doesn’t mind him soldiering (despite the fact that her husband, and father of her new baby, was killed on a battlefield). Aramis who craved adventure and as many women as possible to escape memories of the true loves he’d lost, left the musketeers to become First Minister of France where he can be near to the Queen and watch over his son. ‘Trainee’ D’Artagnon became captain, running the musketeers with Constance. Each is a happy stories individually, but they missed the point of what I loved about the stories of the musketeers – the group of them together. How can it be a happy ending when they are going in different directions?
Despite the somewhat clumsy plotting, and that somewhat sour end note, the series was never anything other than entertaining. I wonder what this show could have been if only the BBC had committed to it more. With the mixture of action, comedy, romance and drama; not to mention the incredibly detailed and beautiful period sets and costumes; it should have been a perfect candidate for an absolute hit. As it was, it’s a show that I suspect I will always remember more fondly than it maybe deserves, giving it the benefit of the doubt for what it came so close to being, rather than the slight mess that it actually was.