In the movie industry, there are some genres I have little to know love for. The romantic comedy category is one of those, mostly because each film resembles all the others. The musical bracket is also one I have little fondness for. I cannot say I see the purpose in singing every minute of the story. Once in a while, however, a feature film comes to stand apart from the rest. Will Smith’s “Hitch” did that for me as a romantic comedy, and Les Misérables is a musical I have really taken a liking to.
An adaptation of the stage play, which was an adaptation of the original novel by Victor Hugo, though it has a few light moments–a very few light moments–the motion picture tells a tale sadder than most. Hugh Jackman plays Jean Valjean, a paroled convict, who served 19 years in prison for stealing a loaf of bread. Upon his release, he finds himself in a world where he has no working opportunities, leading him to either become a street beggar, or go back to the thievery he knows. While he momentarily chooses the latter, stealing from a bishop, the mercy of that bishop causes him to turn his life around, though he adversely becomes a fugitive in so doing.
Russell Crowe is Javert, an officer of the law, and Jean Valjean’s constant pursuer, even to the end, some 17 years later. He mercilessly stands on the good side of the law, ready to, with extreme prejudice, bring all lawbreakers to justice.
Anne Hathaway is Fantine, a single mother, in a time where such a thing was a disgrace. She attempts to keep it a secret, working a job to earn and send money to her daughter Cosette, who is cared for by two neglectful would-be guardians, Thénardier & Madame Thénardier (Sacha Baron Cohen, Helena Bonham Carter, who also serve as the comic relief). She is willing to do anything to see that her daughter is taken care of, which is a claim we get to see the extent of.
Amanda Seyfried plays the older Cossette (the younger is briefly played by Isabelle Allen), who falls in love with Marius (Edde Redmayne), a French revolutionist. Amidst the sadness, depression, and oppression, this love is where the story finds its light.
The picture has lots more characters, which also include Aaron Tveit as Enjolras, leader of the student revolutionary party, and Samantha Barks, the only actor or actress from the broadway play. I personally like a big cast of characters because I feel it gives a vast audience different reasons to like the same film. And everyone performs well, from the biggest names down to the smallest.
There are a number of standout performances, three of which quickly became my favorites. Hugh Jackman’s “Valjean's Soliloquy,” Anne Hathaway’s “I Dreamed a Dream,” and Eddie Redmayne’s “Empty Chairs at Empty Tables” are amongst the cream of the crop. Everyone’s preferences will very, though, because there are a lot of good songs here.
During production, a big topic of discussion was the decision to have live singing, instead of prerecorded performances. It makes such a difference, too, as it allows the actors and actresses to act and react to each other in more ways than body language and facial expressions.
On another technical side, makeup is well done, helping to set the depressed mood. Makeup is probably best used on Hugh Jackman, who makes the most drastic transformation from prison convict to a mayor. The only place I thought the makeup could have been used better was on Russell Crowe, who after 17 years, still pretty much looks the same.
Les Misérables is a good movie that makes me want to, if not see the play, at least read the book. I recommend it.
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