Les Miserables (A- or 3.5/4 stars)
I can remember singing songs from 'Les Miserables' in high school choir. I saw the play on Broadway with my mom & grandma. And recently, I caught the 25th Anniversary Concert on PBS and found a deeper appreciation of this behemoth that I've known for 18 years. And so, I went into this film version with great anticipation. Adapted from Victor Hugo's 1862 novel, & spun around the 1832 Paris student uprising, the story begins in 1815, where Jean Valjean (Hugh Jackman), a convict also known as "24601", is let-go from prison after serving a torturous 19 yr. sentence for stealing a loaf of bread.
After breaking parole, the story jumps 8 yrs. to where he has been living a 'good life' as a factory owner in a small Parisian village. But he must always dog the relentless pursuit of vengeful Inspector Javert (Russell Crowe), who is obsessed with bringing Valjean to justice. Valjean is nearly caught when he tries to help the doomed Fantine (Anne Hathaway), a woman who recently worked in his factory who must sell her hair, teeth, & body (prostitution) to support her child. Fantine becomes gravely ill. But before her demise, Valjean agrees to care for her daughter, Cosette (young Isabelle Allen); and tears her from the clutches of the Thenardiers (Helena Bonham Carter, Sacha Baron Cohen), greedy innkeepers who treat Cosette like a slave while spoiling their own daughter, Eponine.
When Javert closes in, Valjean must again disappear with Cosette. Valjean does a fine job raising her (now Amanda Seyfried) as his adopted daughter. 9 more yrs. pass. But Valjean is heavy of mind & heart. He knows Javert might still catch-up with him. He's hell bent on Cosette never finding out about his checkered past. And he worries about her falling in love with Marius (Eddie Redmayne), a handsome rebel who is fighting in the student uprising. Through all of this, the Thenardier's daughter Eponine (Samantha Barks) enters the fray & complicates all matters by pining vainly for Marius' love. Melodrama, tragedy, & LOTS of singing ensue.
There's a lottttt of plot in this film, haha. The movie sometimes struggles to squeeze everything in cohesively during the 157 minute running time. Furthermore, plot exposition is even harder to express when the entire film is in song. I think the pacing goes off a bit through the student revolt section; which includes fine performances by young Daniel Huttlestone as scene-stealing Gavroche, and Aaron Tveit, the impassioned revolt leader. But overall, this sweeping, ambitious monster of a musical is successful thanks to Tom Hooper's directorial choices (he also gave us The King’s Speech).
What makes this film unique & intimate is his daring decision to have the actors sing live. With exception of a few songs, the risk pays off. Some songs are sung with big, operatic vocals. Some are sung in a raw recitative-style. But that works, here; bringing out the best in the actors. Hugh Jackman's Valjean, a good man who has done bad things and is seeking redemption, is multifaceted & engaging. Anne Hathaway's performance is an example of one of those rare cinematic instances where an actor raises their game to meet the already lofty standards of a particular role. Her version of "I Dreamed a Dream" is shattering.
Russell Crowe gives a menacing, yet understated portrayal of Javert. His singing is better than expected. And though he's our ruthless villain, you can't help but feel something for him in the end. Eddie Redmayne is superb; deserving praise for the soulful ache that he brings to both the love triangle and for his lost comrades ("Empty Chairs at Empty Tables" knocked me over). Samantha Barks made me fall for her tragic heroine, Eponine (her "On My Own" & "A Little Fall of Rain" rivets). And as an easter egg for stage musical fans, the 'original' Jean Valjean, Colm Wilkinson, has a nice cameo as The Bishop of Digne.
'Les Miserables' is a splendid spectacle. Hooper recreates 19th century France in all of its decadence & squalor. Speaking of the squalor, 'Les Mis' is not the cheeriest film. There is poverty, heartbreak, death -- these people are miserable, after all. But so, too, is there humor, action, & romance. It tells a story of broken dreams, unrequited love, sacrifice ... but it's also about redemption and the power of the human spirit. The directorial choices (lots of close-ups) and/or the decision to have the actors sing live may not jive with some audiences. But I was engaged throughout; and find it to be quite the cinematic achievement.
After breaking parole, the story jumps 8 yrs. to where he has been living a 'good life' as a factory owner in a small Parisian village. But he must always dog the relentless pursuit of vengeful Inspector Javert (Russell Crowe), who is obsessed with bringing Valjean to justice. Valjean is nearly caught when he tries to help the doomed Fantine (Anne Hathaway), a woman who recently worked in his factory who must sell her hair, teeth, & body (prostitution) to support her child. Fantine becomes gravely ill. But before her demise, Valjean agrees to care for her daughter, Cosette (young Isabelle Allen); and tears her from the clutches of the Thenardiers (Helena Bonham Carter, Sacha Baron Cohen), greedy innkeepers who treat Cosette like a slave while spoiling their own daughter, Eponine.
When Javert closes in, Valjean must again disappear with Cosette. Valjean does a fine job raising her (now Amanda Seyfried) as his adopted daughter. 9 more yrs. pass. But Valjean is heavy of mind & heart. He knows Javert might still catch-up with him. He's hell bent on Cosette never finding out about his checkered past. And he worries about her falling in love with Marius (Eddie Redmayne), a handsome rebel who is fighting in the student uprising. Through all of this, the Thenardier's daughter Eponine (Samantha Barks) enters the fray & complicates all matters by pining vainly for Marius' love. Melodrama, tragedy, & LOTS of singing ensue.
There's a lottttt of plot in this film, haha. The movie sometimes struggles to squeeze everything in cohesively during the 157 minute running time. Furthermore, plot exposition is even harder to express when the entire film is in song. I think the pacing goes off a bit through the student revolt section; which includes fine performances by young Daniel Huttlestone as scene-stealing Gavroche, and Aaron Tveit, the impassioned revolt leader. But overall, this sweeping, ambitious monster of a musical is successful thanks to Tom Hooper's directorial choices (he also gave us The King’s Speech).
What makes this film unique & intimate is his daring decision to have the actors sing live. With exception of a few songs, the risk pays off. Some songs are sung with big, operatic vocals. Some are sung in a raw recitative-style. But that works, here; bringing out the best in the actors. Hugh Jackman's Valjean, a good man who has done bad things and is seeking redemption, is multifaceted & engaging. Anne Hathaway's performance is an example of one of those rare cinematic instances where an actor raises their game to meet the already lofty standards of a particular role. Her version of "I Dreamed a Dream" is shattering.
Russell Crowe gives a menacing, yet understated portrayal of Javert. His singing is better than expected. And though he's our ruthless villain, you can't help but feel something for him in the end. Eddie Redmayne is superb; deserving praise for the soulful ache that he brings to both the love triangle and for his lost comrades ("Empty Chairs at Empty Tables" knocked me over). Samantha Barks made me fall for her tragic heroine, Eponine (her "On My Own" & "A Little Fall of Rain" rivets). And as an easter egg for stage musical fans, the 'original' Jean Valjean, Colm Wilkinson, has a nice cameo as The Bishop of Digne.
'Les Miserables' is a splendid spectacle. Hooper recreates 19th century France in all of its decadence & squalor. Speaking of the squalor, 'Les Mis' is not the cheeriest film. There is poverty, heartbreak, death -- these people are miserable, after all. But so, too, is there humor, action, & romance. It tells a story of broken dreams, unrequited love, sacrifice ... but it's also about redemption and the power of the human spirit. The directorial choices (lots of close-ups) and/or the decision to have the actors sing live may not jive with some audiences. But I was engaged throughout; and find it to be quite the cinematic achievement.