Les misérables

Plot synopsis:
=== Volume I – Fantine ===
The story begins in 1815 in Digne, as the peasant Jean Valjean, just released from 19 years' imprisonment in the Bagne of Toulon—five for stealing bread for his starving sister and her family and fourteen more for numerous escape attempts—is turned away by innkeepers because his yellow passport marks him as a former convict. He sleeps on the street, angry and bitter.
Digne's benevolent Bishop Myriel gives him shelter. At night, Valjean runs off with Myriel's silverware. When the police capture Valjean, Myriel pretends that he has given the silverware to Valjean and presses him to take two silver candlesticks as well, as if he had forgotten to take them. The police accept his explanation and leave. Myriel tells Valjean that his life has been spared for God, and that he should use money from the silver candlesticks to make an honest man of himself.
Valjean broods over Myriel's words. When opportunity presents itself, purely out of habit, he steals a 40-sous coin from 12-year-old Petit Gervais and chases the boy away. He quickly repents and searches the city in panic for Gervais. At the same time, his theft is reported to the authorities. Valjean hides as they search for him, because if apprehended he will be returned to the galleys for life as a repeat offender.
Six years pass and Valjean, using the alias Monsieur Madeleine, has become a wealthy factory owner and is appointed mayor of a town identified only as M____-sur-M__ (i.e., Montreuil-sur-Mer). Walking down the street, he sees a man named Fauchelevent pinned under the wheels of a cart. When no one volunteers to lift the cart, even for pay, he decides to rescue Fauchelevent himself. He crawls underneath the cart, manages to lift it, and frees him. The town's police inspector, Inspector Javert, who was an adjutant guard at the Bagne of Toulon during Valjean's incarceration, becomes suspicious of the mayor after witnessing this remarkable feat of strength. He has known only one other man, a convict named Jean Valjean, who could accomplish it.
Years earlier in Paris, a grisette named Fantine was very much in love with Félix Tholomyès. His friends, Listolier, Fameuil, and Blachevelle were also paired with Fantine's friends Dahlia, Zéphine, and Favourite. The men abandon the women, treating their relationships as youthful amusements. Fantine must draw on her own resources to care for her and Tholomyès' daughter, Cosette. When Fantine arrives at Montfermeil, she leaves Cosette in the care of the Thénardiers, a corrupt innkeeper and his selfish, cruel wife.
Fantine is unaware that they are abusing her daughter and using her as forced labor for their inn, and continues to try to meet their growing, extortionate and fictitious demands. She is later fired from her job at Jean Valjean's factory, because of the discovery of her daughter, who was born out of wedlock. Meanwhile, the Thénardiers' monetary demands continue to grow. In desperation, Fantine sells her hair and two front teeth, and she resorts to prostitution to pay the Thénardiers. Fantine is slowly dying from an unspecified disease.
A dandy named Bamatabois harasses Fantine in the street, and she reacts by striking him. Javert arrests Fantine. She begs to be released so that she can provide for her daughter, but Javert sentences her to six months in prison. Valjean (Mayor Madeleine) intervenes and orders Javert to release her. Javert resists but Valjean prevails. Valjean, feeling responsible because his factory turned her away, promises Fantine that he will bring Cosette to her. He takes her to a hospital.
Javert comes to see Valjean again. Javert admits that after being forced to free Fantine, he reported him as Valjean to the French authorities. He tells Valjean he realizes he was wrong, because the authorities have identified someone else as the real Jean Valjean, have him in custody, and plan to try him the next day. Valjean is torn, but decides to reveal himself to save the innocent man, whose real name is Champmathieu. He travels to attend the trial and there reveals his true identity. Valjean returns to M____-sur-M__ to see Fantine, followed by Javert, who confronts him in her hospital room.
After Javert grabs Valjean, Valjean asks for three days to bring Cosette to Fantine, but Javert refuses. Fantine discovers that Cosette is not at the hospital and fretfully asks where she is. Javert orders her to be quiet, and then reveals to her Valjean's real identity. Weakened by the severity of her illness, she falls back in shock and dies. Valjean goes to Fantine, speaks to her in an inaudible whisper, kisses her hand, and then leaves with Javert. Later, Fantine's body is unceremoniously thrown into a public grave.
=== Volume II – Cosette ===
Valjean escapes, is recaptured, and is sentenced to death. The king commutes his sentence to penal servitude for life. While imprisoned in the Bagne of Toulon, Valjean, at great personal risk, rescues a sailor caught in the ship's rigging. Spectators call for his release. Valjean fakes his own death by allowing himself to fall into the ocean. Authorities report him dead and his body lost.
Valjean arrives at Montfermeil on Christmas Eve. He finds Cosette fetching water in the woods alone and walks with her to the inn. He orders a meal and observes how the Thénardiers abuse her, while pampering their own daughters Éponine and Azelma, who mistreat Cosette for playing with their doll. Valjean leaves and returns to make Cosette a present of an expensive new doll which, after some hesitation, she happily accepts. Éponine and Azelma are envious. Madame Thénardier is furious with Valjean, while her husband makes light of Valjean's behaviour, caring only that he pay for his food and lodging.
The next morning, Valjean informs the Thénardiers that he wants to take Cosette with him. Madame Thénardier immediately accepts, while Thénardier pretends to love Cosette and be concerned for her welfare, reluctant to give her up. Valjean pays the Thénardiers 1,500 francs, and he and Cosette leave the inn. Thénardier, hoping to swindle more out of Valjean, runs after them, holding the 1,500 francs, and tells Valjean he wants Cosette back. He informs Valjean that he cannot release Cosette without a note from the child's mother. Valjean hands Thénardier Fantine's letter authorizing the bearer to take Cosette. Thénardier then demands that Valjean pay a thousand crowns, but Valjean and Cosette leave. Thénardier regrets that he did not bring his gun and turns back toward home.
Valjean and Cosette flee to Paris. Valjean rents new lodgings at Gorbeau House, where he and Cosette live happily. However, Javert discovers Valjean's lodgings there a few months later. Valjean takes Cosette and they try to escape from Javert. They soon find shelter in the Petit-Picpus convent with the help of Fauchelevent, the man whom Valjean once rescued from being crushed under a cart and who has become the convent's gardener. Valjean also becomes a gardener and Cosette becomes a student at the convent school.
=== Volume III – Marius ===
Eight years later, the Friends of the ABC, led by Enjolras, are preparing an act of anti-Orléanist civil unrest on the eve of the Paris uprising on 5–6 June 1832, following the death of General Lamarque, the only French leader who had sympathy towards the working class. Lamarque was a victim of a major cholera epidemic that had ravaged the city, particularly its poor neighborhoods, arousing suspicion that the government had been poisoning wells. The Friends of the ABC are joined by the poor of the Cour des miracles, including the Thénardiers' eldest son Gavroche, who is a street urchin.
One of the students, Marius Pontmercy, has become alienated from his family (especially his grandfather M. Gillenormand) because of his liberal views. After the death of his father Colonel Georges Pontmercy, Marius discovers a note from him instructing his son to provide help to a sergeant named Thénardier who saved Pontmercy's life at Waterloo—in reality Thénardier was looting corpses and only saved Pontmercy's life by accident; he had called himself a sergeant under Napoleon to avoid exposing himself as a robber.
At the Luxembourg Garden, Marius falls in love with the now grown and beautiful Cosette. The Thénardiers have also moved to Paris and now live in poverty after losing their inn. They live under the surname "Jondrette" at Gorbeau House (coincidentally, the same building Valjean and Cosette briefly lived in after leaving the Thénardiers' inn). Marius lives there as well, next door to the Thénardiers.
Éponine, now ragged and emaciated, visits Marius at his apartment to beg for money. To impress him, she tries to prove her literacy by reading aloud from a book and by writing "The Cops Are Here" on a sheet of paper. Marius pities her and gives her some money. After Éponine leaves, Marius observes the "Jondrettes" in their apartment through a crack in the wall. Éponine comes in and announces that a philanthropist and his daughter are arriving to visit them. In order to look poorer, Thénardier puts out the fire and breaks a chair. He also orders Azelma to punch out a window pane, which she does, resulting in cutting her hand (as Thénardier had hoped).
The philanthropist and his daughter enter—actually Valjean and Cosette. Marius immediately recognizes Cosette. After seeing them, Valjean promises them he will return with rent money for them. After he and Cosette leave, Marius asks Éponine to retrieve her address for him. Éponine, who is in love with Marius herself, reluctantly agrees to do so. The Thénardiers have also recognized Valjean and Cosette, and vow their revenge. Thénardier enlists the aid of the Patron-Minette, a well-known and feared gang of murderers and robbers.
Marius overhears Thénardier's plan and goes to Javert to report the crime. Javert gives Marius two pistols and instructs him to fire one into the air if things get dangerous. Marius returns home and waits for Javert and the police to arrive. Thénardier sends Éponine and Azelma outside to look out for the police. When Valjean returns with rent money, Thénardier, with Patron-Minette, ambushes him and he reveals his real identity to Valjean. Marius recognizes Thénardier as the man who "saved" his father's life at Waterloo and is caught in a dilemma.
He tries to find a way to save Valjean while not betraying Thénardier. Valjean denies knowing Thénardier and tells him that they have never met. Valjean tries to escape through a window but is subdued and tied up. Thénardier orders Valjean to pay him 200,000 francs. He also orders Valjean to write a letter to Cosette to return to the apartment, and they would keep her with them until he delivers the money. After Valjean writes the letter and informs Thénardier of his address, Thénardier sends out Mme. Thénardier to get Cosette. Mme. Thénardier comes back alone, and announces the address is a fake.
It is during this time that Valjean manages to free himself. Thénardier decides to kill Valjean. While he and Patron-Minette are about to do so, Marius remembers the scrap of paper that Éponine wrote on earlier. He throws it into the Thénardiers' apartment through the wall crack. Thénardier reads it and thinks Éponine threw it inside. He, Mme. Thénardier and Patron-Minette try to escape, only to be stopped by Javert.
He arrests all the Thénardiers and Patron-Minette (except Claquesous, who escapes during his transportation to prison; Montparnasse, who stops to run off with Éponine instead of joining in on the robbery; and Gavroche, who was not present and rarely participates in his family's crimes, a notable exception being his part in breaking his father out of prison). Valjean manages to escape the scene before Javert sees him.
=== Volume IV – The Idyll in the Rue Plumet and the Epic in the Rue St. Denis ===
After Éponine's release from prison, she finds Marius at "The Field of the Lark" and sadly tells him that she found Cosette's address. She leads him to Valjean's and Cosette's house on Rue Plumet, and Marius watches the house for a few days. He and Cosette then finally meet and declare their love for one another. Thénardier, Patron-Minette and Brujon manage to escape from prison with the aid of Gavroche. One night, during one of Marius's visits with Cosette, the six men attempt to raid Valjean's and Cosette's house. However, Éponine, who has been sitting by the gates of the house, threatens to scream and awaken the whole neighbourhood if the thieves do not leave. Hearing this, they reluctantly retire. Meanwhile, Cosette informs Marius that she and Valjean will be leaving for England in a week's time, which greatly troubles the pair.
The next day, Valjean is sitting in the Champ de Mars. He is feeling troubled about seeing Thénardier in the neighbourhood several times. Unexpectedly, a note lands in his lap, which says "Move Out." He sees a figure running away in the dim light. He goes back to his house, tells Cosette they will be staying at their other house on Rue de l'Homme Arme, and reconfirms to her that they will be moving to England. Marius tries to get permission from M. Gillenormand to marry Cosette. His grandfather seems stern and angry, but has been longing for Marius's return. When tempers flare, he refuses his assent to the marriage, telling Marius to make Cosette his mistress instead. Insulted, Marius leaves.
The following day, the students revolt and erect barricades in the narrow streets of Paris. Gavroche spots Javert and informs Enjolras that Javert is a spy. When Enjolras confronts him about this, he admits his identity and his orders to spy on the students. Enjolras and the other students tie him up to a pole in the Corinth restaurant. Later that evening, Marius goes back to Valjean's and Cosette's house on Rue Plumet, but finds the house no longer occupied. He then hears a voice telling him that his friends are waiting for him at the barricade. Distraught to find Cosette gone, he heeds the voice and goes.
When Marius arrives at the barricade, the "revolution" has already started. When he stoops down to pick up a powder keg, a soldier comes up to shoot Marius. However, a man covers the muzzle of the soldier's gun with his hand. The soldier fires, fatally wounding the man, while missing Marius. Meanwhile, the soldiers are closing in. Marius climbs to the top of the barricade, holding a torch in one hand, a powder keg in the other, and threatens to the soldiers that he will blow up the barricade. After confirming this, the soldiers retreat from the barricade.
Marius decides to go to the smaller barricade, which he finds empty. As he turns back, the man who took the fatal shot for Marius earlier calls Marius by his name. Marius discovers this man is Éponine, dressed in men's clothes. As she lies dying on his knees, she confesses that she was the one who told him to go to the barricade, hoping they would die together. She also confesses to saving his life because she wanted to die before he did.
The author also states to the reader that Éponine anonymously threw the note to Valjean. Éponine then tells Marius that she has a letter for him. She also confesses to have obtained the letter the day before, originally not planning to give it to him, but decides to do so in fear he would be angry at her about it in the afterlife. After Marius takes the letter, Éponine then asks him to kiss her on the forehead when she is dead, which he promises to do. With her last breath, she confesses that she was "a little bit in love" with him, and dies.
Marius fulfills her request and goes into a tavern to read the letter. It is written by Cosette. He learns Cosette's whereabouts and he writes a farewell letter to her. He sends Gavroche to deliver it to her, but Gavroche leaves it with Valjean. Valjean, learning that Cosette's lover is fighting, is at first relieved, but an hour later, he puts on a National Guard uniform, arms himself with a gun and ammunition, and leaves his home.
=== Volume V – Jean Valjean ===
Valjean arrives at the barricade and immediately saves a man's life. He is still not certain if he wants to protect Marius or kill him. Marius recognizes Valjean at first sight. Enjolras announces that they are almost out of cartridges. When Gavroche goes outside the barricade to collect more ammunition from the dead National Guardsmen, he is shot by the troops.
Valjean volunteers to execute Javert himself, and Enjolras grants permission. Valjean takes Javert out of sight, and then shoots into the air while letting him go. Marius mistakenly believes that Valjean has killed Javert. As the barricade falls, Valjean carries off the injured and unconscious Marius. All the other students are killed. Valjean escapes through the sewers, carrying Marius's body. He evades a police patrol, and reaches an exit gate but finds it locked. Thénardier emerges from the darkness. Valjean recognizes him, but his filthy appearance prevents Thénardier from recognizing him. Thinking Valjean a murderer lugging his victim's corpse, Thénardier offers to open the gate for money. As he searches Valjean and Marius's pockets, he surreptitiously tears off a piece of Marius's coat so he can later find out his identity. Thénardier takes the thirty francs he finds, opens the gate, and allows Valjean to leave, expecting Valjean's emergence from the sewer will distract the police who have been pursuing him.
Upon exiting, Valjean encounters Javert and requests time to return Marius to his family before surrendering to him. Javert agrees, assuming that Marius will be dead within minutes. After leaving Marius at his grandfather's house, Valjean asks to be allowed a brief visit to his own home, and Javert agrees. There, Javert tells Valjean he will wait for him in the street, but when Valjean scans the street from the landing window he finds Javert has gone. Javert walks down the street, realizing that he is caught between his strict belief in the law and the mercy Valjean has shown him. He feels he can no longer give Valjean up to the authorities but also cannot ignore his duty to the law. Unable to cope with this dilemma, Javert commits suicide by throwing himself into the Seine.
Marius slowly recovers from his injuries. As he and Cosette make wedding preparations, Valjean endows them with a fortune of nearly 600,000 francs. As their wedding party winds through Paris during Mardi Gras festivities, Valjean is spotted by Thénardier, who then orders Azelma to follow him. After the wedding, Valjean confesses to Marius that he is an ex-convict. Marius is horrified, assumes the worst about Valjean's moral character, and contrives to limit Valjean's time with Cosette. Valjean accedes to Marius' judgment and his separation from Cosette. Valjean loses the will to live and retires to his bed.
Thénardier approaches Marius in disguise, but Marius recognizes him. Thénardier attempts to blackmail Marius with what he knows of Valjean, but in doing so, he inadvertently corrects Marius's misconceptions about Valjean and reveals all of the good he has done. He tries to convince Marius that Valjean is actually a murderer, and presents the piece of coat he tore off as evidence. Stunned, Marius recognizes the fabric as part of his own coat and realizes that it was Valjean who rescued him from the barricade. Marius pulls out a fistful of notes and flings it at Thénardier's face. He then confronts Thénardier with his crimes and offers him an immense sum to depart and never return. Thénardier accepts the offer, and he and Azelma travel to America where he becomes a slave trader.
As they rush to Valjean's house, Marius tells Cosette that Valjean saved his life at the barricade. They arrive to find Valjean near death and are reconciled with him. Valjean tells Cosette her mother's story and name. He dies content and is buried beneath a blank slab in Père Lachaise Cemetery.

Tags: tragedy, romantic

Review:
I've seen this version more times than I'd like to admit, and I have to say, that as an introduction to Les Miserables, this film is the most accurate guide you will find if you want to understand the book.
Although the character of Eponine isn't as well developed as it should have been, this should not lower people's opinion of the mini-series because unlike other versions, It performs well AS A WHOLE.
Gerard Depardieu played a wonderful, emotive Valjean and I found his portrayal to be deep and sincere.
Virginie Ledoyen made the character of Cosette seem easily led, air-headed and a little bit stupid.
It was a refreshing change to see a bit more thought put into Cosette than the usual Waif-Like heroine that is seen in other adaptations.
John Malkovich is competent as Javert, but doesn't inject as much feeling into the role as I had expected.
The only thing I have found which I have enjoyed more than this mini-series, in regards to consistency with the original book, and character development is the musical, and that's probably because my school is performing it this year....all in all, I would recommend this to anybody who needs some guiding before wading through the book -I know I did!.
The Best English-language version.
I am American, so unfortunately have only seen the 3 hour English-language version.
I am an avid fan of Victor Hugo, who I consider the greatest literary master of all time, and am particularly fond of "Les Miserables", a novel which literally changed my life.
I hate the American versions of this story, which completely bastardize this great story, so imagine my delight at finally at long last seeing a version that actually retains the true spirit of the original.
John Malcovitch is a wonderful Javert, although I also think Anthony Perkins did a fine job in the 1978 version.
The entire cast, though, was uniformly superb, especially Charlotte Gainsburg as the pathetic Fantine, Virginie Ledoyen as both Cosette and narrator, and of course Gerard Depardieu was just perfect as Valjean.
It was also a pleasant change to hear mostly French rather than British accents, giving the whole film an authenticity other English-language versions don't have.
Please tell me that the complete 6-hour French-language version will be available on DVD soon.
One of my favourite versions, second only to the 1934 adaptation.Six hours in length, Depardieu as Valjean, Malkovich as Javert, rich in detail and emotionally engaging - what more can one ask?As with the 1934 version, this treatment is very full and therefore retains the strength of the original.
It contains a number of alterations to the original narrative, but remains faithful to the essence of the characters, though I found Valjean's obsessive behaviour toward Cosette somewhat exaggerated, and too little emphasis laid on his sense of duty, responsibility, and lack of self-esteem, as his motivation.
The direction is crisp, the script intelligent and engaging, and the acting convincing and moving.Depardieu is an excellent Valjean, articulate and ultimately tragic, while Malkovich is entirely convincing and gives us an unusually "human" Javert.
Christian Clavier is splendidly scheming, selfish and low, while Virginie Ledoyen is suitably appealing as Cosette.This is a confident and intelligent production which is not afraid of its origins..
I agree on comments about Eponine's scarce appearance on screen and left-out death scene but....
Javert was the best character in the book, the rivalry and chase between him and Valjean is the key thing.
I mean, if I ever dared to direct (a completely amateur version ) of Les Miserables, I would concentrate most effort on finding a perfect Javert.
This is the best adaptation of the novel, isn't perfect, but is far superior to the version I'll have previouly seen, with a nice cast.
It could be perfect but have two failures 1) Miscast: Enrico Lo Verso is too old for being Marious, who was an ideal student, who suffered all the third and fourth book.
2) The seccond thing that I don't like it, is that in the last page Jean Veljean said to Cossette her mother name, in the miniseries, it's told in the middle.In facts is an excellent mini, the best screenplay, nice script, superb cast, but with a big miscast in Loverso who isn't the naive, idealistic and insugure Marious..
I have read this novel several times and I was stunned that some of you found this a faithful version.
I am referring to the miniseries that aired in the US with Depardieu and Malkovich.
Maybe the French version - twice as long?
- is more true to the novel, but the version we saw here was shockingly distorted.Yes - all of the characters were there, but their roles were often twisted beyond recognition.
If you have read the novel, you know that she is one of the most heroic characters, sacrificing herself for Marius.
It is also very odd to make Cosette the narrator, as she is deliberately one of the weaker, more insipid characters in the novel.
And Valjean was never in love with Cosette.
He is genuinely an adoptive father.Depardieu is beautifully cast as Valjean, but John Malkovich (I'm a fan, too) plays Javert as if he were simply mean - with none of the nuances of the tortured character that Geoffrey Rush portrays.
And the musical theater version is the best of all, faithful to both the plot and spirit of Hugo's masterpiece..
I'll probably get hung for saying this, but this version, while good, is second to the 1998 version with Liam Neeson in my opinion.
It moves along slowly (I too am American and didn't get to see the film in its entirety) and is somewhat confusing if you haven't read the novel from front to back.
Cosette's good looks and incredible costuming took her a long way...
The film is very pretty to look at, and handles Fantine's decent into prostitution admirably.
(And in that event, is family-friendly.) It was great to see both familiar and unfamiliar faces and be introduced to a new film with such lovely splendor.I enjoyed it, but probably wouldn't see it more than once.
But for people looking for a film that carries you along, the 1998 version is better recommended..
On the other hand, the novel is a classic in literature and this time it isn't the tale of some rich princesses who have broken a finger nail and want to commit suicide because of that.
Anyway, I decided to give this series a chance and I'm glad that I did, because it was a lot better than I ever expected.It tells the story of Jean Valjean, a galley slave who was sent to prison for stealing food and who is now released after serving nineteen years in a labor camp.
The bishop's compassion and humanity restore Jean Valjean's faith in the goodness of people and helps him to go back to an orderly life.
Javert is a police officer who has made of hunting Valjean like a wild animal his main occupation.
He's convinced that every man who once was a criminal, will always be a criminal and he'll do anything to get him behind bars again...This series should not only be seen by the people who once read the book or saw the musical.
I haven't read the book and I didn't see the musical either, but I certainly could enjoy this series.
Another reason why you could enjoy it is because of the good and convincing acting by all the characters.
As I already said before in this review, I'm not a fan of Depardieu, but it has to be said: He was very convincing in his role as Jean Valjean.All in all this is an enjoyable, honest and serious series that is worth watching when you are interested in the story.
This is probably the closest version of the book, because: 4 parts, all written apart, every single line of the characters are shown.
Not a bad series-adaptation of a classic piece of literature at all, not as good as the 1934 and 1935 films(I remember Anthony Perkins' version being better as well) but better than those with Michael Rennie and Liam Neeson.
On the most part, while far from perfect, it is actually good.
There are parts where the direction is choppy and things look too clean and perfect, the relationship between Cosette and Marius could have been less bland and while Valjean and Cosette are very convincing father-daughter figures the love for each other did seem a little too strong and loving at times.
The miscast was Enrico Lo Verso as Marius, people have said he's too old and it is true but that he is very stiff and almost too creepy is more of a problem.
There are alterations and reduced screen-time for characters(Eponine), but you feel Fantine's tragic plight as well as Gavroche's death and the ending is both powerful and affecting, that there's the inclusion of Gillenormand- a character that has been neglected before- is an extra plus.
The series is a good length, the book is mammoth so a long length is a good idea, and the pacing takes its time to develop like the storytelling in the book without being too stillborn.
The rest of the cast are fine, especially Gerard Depardieu(despite having perhaps a too imposing a physique) as a Valjean where the nobility, magnetism, charisma and tragic grandeur is completely realised and in a way that we feel it too.
Virgine Ledoyen is a beautiful and loyal Cosette without being like a waif, spoiled brat or window-dressing.
Asia Argento while underused is indeed an Eponine you feel pity and contempt for, and Christian Clavier is menacing and funny as Thernadier(Veronica Ferres matches him very well as his wife if too on the pretty side).
then, the loyalty to the novel in a better manner because the series is inspired option for present the story.
but this is the start point.
and Javert of John Malkovich is real closed by the figure of Vidoque.
The Best Version Ever.
After seeing this many times over the years, without it ever losing it's potency, I can say this 'Millennium' or year 2000 adaptation, would have to be the best version of Les Misérables.Depardieu and Malkovich bring an intensity and humanity to their roles which has never before been captured in any previous productions (or since for that matter - don't waste your time with the 2012 version).
The music, set design, supporting performances, and all the other elements come together, to create what will probably stand to be the best filmed version of this much loved novel ever made.See it if you can in it's native French language with English subtitles for the best viewing experience...and if you like it spread the word about this fantastic adaptation, not many people know about it.Vive La Revolution!.
I agree with the first review that Marius looked way too old, and the other is that in every adaptation of the book, they never give Eponine enough screen time.
She wasn't even a character in the version with Claire Danes.
Yes, she is a character in this version, but they don't show her death and proclamation of love for Marius.
It's one of the most heart-wrenching scenes in the book, and I was disappointed that it's never shown in any of the movies.
The musical got it right though.I liked this version a lot though and wish they would air it again.
Les Miserables is one favorite books and timeless story of love, forgiveness and revolution..
The Best Adaptation I Have Seen.
Of the movie adaptations I have seen, and I have not seen the 1934 French version, I must admit that this is the best one yet.
I thankfully watched the six hour original French miniseries and loved it, despite not being able to understand more than three words every ten minutes.
Pity they have yet to subtitle it.Gerard Depardieu is near perfect for Valjean in stature and voice, albeit I wanted to smack the script writer for deciding he was obsessively in love with Cosette.
My only bone to pick concerning him is the way he was attempting to kill people right and left (Valjean and Marius to be precise) in moments where he wasn't supposed to if we're going by the book.
She was generally very mousy and truthful to the novel, except that despite going to a denture and wig maker, she only sold her hair, not her front incisors like she is supposed to.
I must also say that Asia Argento was the spitting image of Eponine, save for that dress of hers, which appeared far too expensive for a dirt poor family, whether or not it was torn in places.I personally was not happy with John Malkovich's portrayal of Javert.
But at least he was blond and believably young-looking this time.The actual plot of the movie stayed closer to the novel than any of the other movie adaptations I have seen.
I was particularly fond of Eponine's death scene.
It is definitely worth the $20 you pay on Amazon to get the French version, if only to watch Asia Argento die.
And did anyone notice that Gavroche was the same age when Valjean brought little Cosette to Paris as when she was seven or eight years older?
And why, even in a six hour long miniseries with added scenes not in the book, could the screenwriter not find time to put in the end of the barricade scene, Enjolras' death in particular?
His character and his death are symbolic and support one of Hugo's major themes in several of his novels: the idea that someday perfection and progress will come, but they cannot happen with the world in its current state.
And yet, somehow, in all of the movies, his character plays a very small role.
The closest was in the 1958 French version that kept his death scene identical, even if it barely developed his character the rest of the time.In regards to technical issues, the only one that stood out to me concerned Asia Argento.
As much as I loved her appearance and her acting, perhaps it would have just been better to have a French actress in the role.
I know nothing about the English version, but at half the running time, I find it hard to believe it would be nearly as good..
Good adaptation, but cut short...
Overall, I was impressed with this film and it is the best version of the story I have seen yet.
The film its self is beautiful.
While I admire John Malkovich, I found his Javert a bit subdued.
The female characters fare a little better.
The usually forgotten character of Eponine is returned and played by Asia Argento.
Unfortunately for me, the only adaptation that I was able to get my hands on was the very edited English language version.
I was especially angry at the fact that they left out the death of Eponine.
Without her heroic death, the audience is left thinking Eponine was a villain, rather than a product of her environment, but good none-the-less.
Also missing is Enjorlas's death which is another tragic moment in the novel.
The way I see it, this film could have been the definitive version to me if only the English adaptation could have been about an hour longer and tied up some of the loose ends.
The French version of this same film is unedited (and unsubtitled, alas), so I think I would suggest that one before this version..
The best telling of the story, next to the musical.
This is the best I have ever seen from Depardieu, and Malkovich is almost as good as he was in Shadow of the Vampire.
The rest of the cast is wonderful.In terms of story, it's pretty faithful to the book from what I can tell, but unfortunately they do not really go into detail with Eponine's death, but at least they get Gavroche's death right, unlike the terrible Neeson/Rush version.Hugo would be proud of this one..
Where shall I start?
The writing is just horribly ridiculous and unrealistic (for example: Valjean tells Cosette that Marius was wounded in the barricade, and all she seems to care about is that Valjean finally accepted him), the acting of ALL the actors, except for the guy who portrays Gillenormand, is terrible (especially John Malkovich as Javert and Depardieu (spl?) as Valjean, with his one face expression), the characters have turned into something very weird (Valjean is in love with Cosette?!
I'm sure that Hugo is turning in his grave...), the whole thing is full of plot holes (Gavroche never ages, the Thenardiers wearing nice cloths, Javert hears the "Vive la republic" and does nothing) and why the hell is Gavroche Marius' best friend?!
This is probably the worst adaptation I've ever seen.
The only good thing I can think of is the setting and the costumes (and Gillenormand, who usually is kept out of adaptations)..
Having finally seen the musical last week, I got around to watching the 3 hour edit tonight with my wife (she's seen the musical three or four times now, and neither of us have read the book).This was good.
It was reassuring to note that both this and the musical are similar enough that they must both be reasonable adaptations of the very long novel.
Depardieu conveyed Valjean's power very well, and Malkovich gave us Javert's single mindedness, although it wasn't obvious how fundamentally Valjean's action in freeing him had undermined everything he held at his core.
Christian Clavier's Thenardier was vile, and Virginie Ledoyen's Cosette had much more to her than in the musical, where she is such a cipher that she must be a fairly thankless role to play.The period feel is good, but I must confess to encountering some difficulty in negotiating the French accents of some of the principals.