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As his long time nemesis Javert, Russel Crowe is more of a mixed bag. He's certainly not a talented singer but I didn't find him that bad to be honest, certainly passable. And to be honest that's not something that has ever really bothered me. People who dislike musicals often cite the reason that it's unrealistic to have characters break into song on a whim. Well I think the fact that not everyone featured sounds like a trained operatic singer helps it seem a little more realistic in a way. It was the same thing with Pierce Brosnan in Mamma Mia which a lot of people complained about, but it didn't bother me. Trust me, if I were to list what was wrong with Mamma Mia I'd have to get through a lot of ammo before getting to Brosnan. While Crowe's vocal performance didn't bother me however, the fact that this clearly isn't his normal arena means that I felt he seemed quite uncomfortable, and as a result delivered an occasionally stiff performance. As the young Marius, Eddie Redmayne gives a strong showing, with a particularly impressive rendition of “Empty Chairs at Empty Tables”. He captures the youthful rebellion and idealism of the character, but also the apprehensive naivety. When it comes to Marius' love interest however, the film unfortunately rather passes by both Amanda Seyfried and her character. A more successful double act comes in the form of Sacha Baron Cohen and Helena Bonham Carter who are a real hoot as the unscrupuluous and larger than life Thenardiers. They really do feel like a perfect bit of casting.
One of the stretches where I struggled was the romance between Marius and Cosette. It's just so flimsy and unconvincing, and after the dramatic struggles of Hathaway's Fatine it feels so silly and frivolous by contrast. I struggled to really care about these two pretty young people who apparently have one of the great romances of all time despite barely sharing a word; they basically look at each other across a divide and think 'oh they're nice looking.' Alongisde the heartbreak of Hathaway and the large drama of a revolution, it comes across like a Shakespeare play melded with a script for an episode of The OC or Gossip Girl.
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Year of release
2012
2012
Directed by
Tom Hooper
Tom Hooper
Written by
Alain Boublil / Herbert Kretzmer
William Nicholson / Claude-Michel Schonberg
Alain Boublil / Herbert Kretzmer
William Nicholson / Claude-Michel Schonberg
Starring
Hugh Jackman
Russell Crowe
Anne Hathaway
Eddie Redmayne
Amanda Seyfried
Hugh Jackman
Russell Crowe
Anne Hathaway
Eddie Redmayne
Amanda Seyfried
Les Misérables
+
Plot – 19th century France. Following a nineteen year prison sentence, Jean Valjean (Jackman) is finally released on parole by prison guard Javert (Crowe). While on parole however, he struggles to find a job or anything positive in his life; the stigma of his imprisonment sabotaging his attempts at reintigrating to society. Finally shown some kindness by a priest, Valjean decides to abscond from his parole duties and start a new life. We follow Valjean over the next couple of decades and everything that happens in his life; becoming a mayor, adopting a daughter, continually on the run from his nemesis Javert. And this all unfolds against the larger backdrop of the country's issues and developments, leading up to a student-led revolution.
I think this film, more than any other film I've reviewed since joining this forum, has left me torn on how to rate it and just generally how to think about it. It was a real rollercoaster, with moments that I found just terrific alongside stretches that I found turgid and a real struggle to get through. Much of the opening act I found a chore, as well as the romance between two characters that occurs later on. High points were any moment Anne Hathaway was on screen, the scenes with Helena Bonham Carter and Sacha Baron Cohen which provided some much welcome relief and the final act beginning with the opening shots of the revolution.
One of the reasons I struggled so much was its musical foundations. Now in general, musicals aren't a problem for me; there are a number that I really like/love such as Singin' in the Rain, Hedwig and the Angry Inch, Willy Wonka and the Chocolate Factory and numerous Disney animated classics. So the mere prospect of a musical is not something that makes me instantly run for the hills. However what I did not realise ahead of time is that Les Miserables was one of those type of musicals. By 'those type' I mean musicals where just about every damn word is sung. Every conversation and every internal thought is expressed in song and in the most obvious terms. I have really never liked that style of musical and this didn't particularly change my views on that. I think the realisation of what I was in for contributed greatly to my early struggles.
The film does feature a couple of incredible performances. And there is just no way that I couldn't start by talking about Anne Hathaway. She really is just as extraordinary as you've heard. As an actress she has never really caught my attention in any great way. I've found her to be a very pleasant screen presence in a few films but nothing notably special. Here however she has elevated herself to a completely different level in my eyes. She delivers an incredible and heartbreaking performance as the tragic Fatine. The standout moment was definitely her rendition of “I Dreamed a Dream”; a spectacularly powerful and moving moment; one that I don't think is done justice by merely describing it as heartbreaking, I think I'll have to bump it up to heart-wrenching. She emerges from the considerable shadow of Susan Boyle to deliver one of the most striking scenes I've seen in quite a long time. Even the hardiest of individuals may find themselves crumbling as a result. If she were to somehow walk out of the Dolby Theatre on the 24th of February not clasping an Oscar for Best Supporting Actress then I would be absolutely shocked. She is surely one of the surest bets in many a year and rightfully so. As for Hugh Jackman, while Jean Valjean is unlikely to replace Wolverine as his most iconic character, in his eyes I'm sure he sees it as the role of a lifetime. With his background in musical theatre this seems like the role he was born to play, and one that he would probably love to play day after day. In a film encompassing so many characters and taking place over a couple of decades he is the one constant the film has to offer, the character who most carries the film. And he rises superbly to the task. While I struggle to see him pipping Daniel Day Lewis to the Oscar he was very deserving of the nomination he received.
Film trivia – Les Misérables will be hoping for some success at the Academy Awards later this month, but the ceremony has already proved fruitful for the film. Back in 2011 Hugh Jackman and Anne Hathaway sang together at the Academy Awards, with Hathaway actually singing the Les Mis classic “On My Own.” When he was cast as Valjean, Jackman campaigned for Hathaway to get the role of Fantine on the back of her performance that night. Along with that link Jackman and Hathaway are also joined together through the extreme weight loss both went through. Hathaway lost 25 pounds to play Fantine, with Jackman losing 30 pounds to portray Valjean at the start of the film when he was a prisoner.
The opening scene of Les Mis most certainly sets the scene for what is to come. It sees Jean Valjean and dozens of fellow slaves undertaking the mammoth task of hauling a large ship into dock; these men so battered and beaten singing a guttural, brooding song while the nefarious Javert watches from above. It's an incredible sequence, one that lets you know that you're certainly not in for a toe-tapping, feel good experience. But it also shows that its going to be told on a very grand scale. Tom Hooper presents a very epic and lush production, brought to life by some highly impressive costume, make-up and set decoration work. Though in contrast the interior scenes do tend to have a more claustraphobic, stagey feel to them. Hooper's potentially risky decision to have the performers sing live does prove to be quite an inspired decision, giving the film an extra dose of raw and vibrant energy. And it allows for little moments where the actors choke up or crack just a touch, and these imperfections just add so much power and passion to proceedings.
Film trivia – It's incredible how many of the cast have had previous experience of Les Mis, almost as if they were destined for their specific roles. Amanda Seyfried, who plays the adult Cosette here, actually played the part of Cosette as a child on stage when she was just seven years old. Eddie Redmayne had previously played the role of Marius, the same character he portrays here. Samantha Barks revives her role as Eponine having played it in the 25th anniversary performance last year. And while Anne Hathaway herself didn't play the part of Fantine previously; rather incredibly her mother, Kate McCauley Hathaway, played the role of Fantine back in 1987 on the show's first ever US tour.
Were I a reviewer for a magazine or newspaper I would probably feel obligated to rate the film closer to a 4/5, because as a piece of art rated on its technical achievements I do think it's a very good film. As I continue to retain my freelance status however 
I am not constrained by such requirements and am able to score on a much more personal level. And as such I think my score is just about right as an overall rating of how I enjoyed it as a whole. There were scenes that warranted a 4/5 score but otheres were I would have struggled to go anything above a 2. While I would have liked the film to have taken a more traditional narrative and dialogue approach for purely selfish reasons, I also think it may have benefitted the film. The film's showcase songs; the likes of I Dreamed a Dream, Bring Him Home and Do You Hear the People Sing? are absolutely wonderful. And I think by removing the 'filler' songs (so to speak) those songs would have proved even more rousing than they already are.
I am not constrained by such requirements and am able to score on a much more personal level. And as such I think my score is just about right as an overall rating of how I enjoyed it as a whole. There were scenes that warranted a 4/5 score but otheres were I would have struggled to go anything above a 2. While I would have liked the film to have taken a more traditional narrative and dialogue approach for purely selfish reasons, I also think it may have benefitted the film. The film's showcase songs; the likes of I Dreamed a Dream, Bring Him Home and Do You Hear the People Sing? are absolutely wonderful. And I think by removing the 'filler' songs (so to speak) those songs would have proved even more rousing than they already are. Oh and lastly there was one final problem for me personally. Throughout the film I was occasionally reminded of South Park: Bigger, Longer and Uncut, particularly when it came to the big medley 'One Day More' which South Park pays wonderful homage to (posted below). It just made me think how much more I'd rather be watching that!
Conclusion - When it comes to people who truly love musicals, I imagine most will just adore this. Those who don't have a concrete affinity for them may well find themselves in the same boat as I did; thrilled by the moments where the film soars but struggling with the stretches in between. Unless you absolutely loathe the genre however I would definitely say it's worth a watch, even if it's just to see the tremendous Hathaway. While you're at it you may well be impressed by some of the other performers and the film's production values. Though if you're prone to tears I suggest taking a deluxe box of tissues with you. It's certainly a film I want to watch again at some point to cement my opinion. If I could get over my problems and just enjoy the high points then my opinion on it could soar.