It might have seemed unlikely at the time, but in The Three Musketeers and The Four Musketeers, Richard Lester found one of the best outlets for his unique sensibility. All the swashbuckling presented endless opportunities to indulge his love of slapstick set pieces, but, just as importantly, the schemes and double crosses of the plot opened the door for an abundance of jaded political commentary. The musketeers find themselves fighting against the malevolent selfishness of Charlton Heston to a far greater degree than they fight for the more or less benign selfishness of Geraldine Chaplin, presented throughout as vain, childish, and generally unworthy of the loyalty shown her. What matters far more is the camaraderie of the musketeers themselves, the bond between a handful of friends far more worthwhile than any ideology, a theme emphasized even more heavily in the sequel. Only poorly implemented post-sync dialogue undermines the project, occasionally negating the performances of a perfectly cast ensemble.