Most people know the iconic story of Les Misérables. It is one that has been thrown at us by a vast
armoury of media: the novel, the Broadway adaptation and, now, the Christmas
blockbuster. I was a little sceptical when I went to the cinema to watch the
film but I was sold. Even those who are not lovers of musical theatre will
enjoy their emotions being manipulating by Working Title Films’ epic new film.
Les Misérables –
in English, ‘the Victims’ – has at its focal point the human condition,
sweeping sentimentality and extreme suffering. One cannot help but to be moved by
such extremities of emotion, if presented correctly. Luckily for the film, the
cast pulls off the plot. The film is a particular tearjerker due to the very
fact that the casting was – on the whole – done brilliantly and the live action
singing gives a sense of real-time agony.
Director Tom Hooper had already made a name for himself
through the much-revered The King’s
Speech. His decision that all of the songs would be recorded live, rather
than lip sung during filming and added in post-production, made the songs –
which comprise an overwhelming majority of the film (indeed, I cannot remember
a single piece of dialogue in it) – chillingly emotional, touchingly realistic
performances.
This immediacy allows the ballads to stick with the audience
as they retain the same exhilaration of the stage. The film improves on the
stage as the camera provides close-ups of the cast’s faces – something one has
to imagine on the faces of Broadway actors.
Perhaps the most touching example is that of ‘I dreamed a
Dream’, sung by Anne Hathaway’s character, Fantine. The paean of loss is delivered entirely as a
tight shot of Hathaway’s face. For several minutes, we see in every quiver of
her mouth; every flash of her eyes; every tear. As the words are sung, spat and
wept from her, the despair, humiliation and fury are truly felt by the audience.
Many will be blown away by the performance, as she makes us believe that ‘life
has killed the dream [she] dream[s].’
Similarly, Hugh Jackman as Jean Valjean was another great
selection. Director Hooper commented that, ‘Hugh has a kind of innate grace and
spirit as a human being and a great kind of moral compass and gentleness that
is perfectly suited for this man going on this spiritual journey.’ Jackman’s rougher
performance allows the film to be carried beyond its saccharine lyrics. His
quiet despair in ‘Who am I?’ is delivered half-spoken-half-sung, producing a believable,
moving façade, allowing us to empathise with the tortured soul contemplating his
human condition, loss of humanity and quest for salvation.
Most of the cast has a musical theatre background, but some
voices did stand out as weaker. In bitter juxtaposition to the voices of Hathaway
and Jackman, Russell Crowe (Javert) has one of the weaker singing voices in the
film. Adam Lambert commented that ‘the score suffered massively with great
actors pretending to be singers.’ While I disagree that the film ‘suffered
massively’, Crowe was the wrong actor for Javert. He acts the inflexible,
duty-driven Inspector well, but the role requires a deep, commanding and
talented singing voice – something Crowe cannot quite muster.
Time must also be given to honour the light-hearted, camp
and funny moments in the film. Sacha Baron Cohen (Thenardier) and Helena Bonham
Carter (Madame Thenardier) allow space for the audience to take a break, enjoy
the comedy and reach for a new tissue. Although relatively derivative in their enactment
of ‘Master of the House’, the audience will roar with laughter at the comic
relief of one of the most memorable pieces of the film.
This is a heart-wrenching epic saga. Bringing very little
new to the already near-perfected plot, it delivers it well in a new medium,
which allows for closer empathy with the characters. Like its characters, the
film is ragged around the edges, but this does not detract from its quality. The
overwhelming emotion and power gives the film an epic feeling. Bring your
tissues if you’re prone to crying, and prepared to be moved by the heart-breaking
performances by the cast of Les
Misérables.
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