Les Misérables
Tags: suspenseful, sentimental, murder, historical, melodrama

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.

Review: Featuring some bravura performances from an all-star cast including Anne Hathaway (Oscar winner), Hugh Jackman (Oscar nominated), Russell Crowe, Sacha Baron Cohen and Helena Bonham Carter.
Set against the sweeping backdrop of 19th-century France, 'Les Mis' tells an enthralling and emotional story of passion, love and redemption, accompanied by some stunning cinematography, uplifting musical numbers and flawless direction.
Tom Hooper's direction and the cinematography, costumes, art design and editing are nothing short of genius.Hooper's idea to have the actors sing live really brings a deeper emotion to the film not seen in other movie musicals.
Anne Hathaway is magnificent in her fleeting role as Fantine - the film's sequence in which she goes on a downward spiral is one of the it's best moments, and her ABSOLUTELY INCREDIBLE HEARTFELT rendition of 'I Dreamed A Dream' will win her the Oscar by itself.Also, a great supporting turn from newcomer Samantha Barks as the heartbroken Eponine (look out for her waist - it's absolutely tiny!), who is sure to be shot into stardom.
Nevertheless I was happy to take the opportunity of a private viewing of "Les Misérables" at the London office of distributors Universal - the day after the London première and a month before the UK release - because of the outstanding success of the original stage show (a run of 27 years with a total audience of over 60 million) and the surprising and impressive cast list (Russell Crowe, Hugh Jackman, Anne Hathaway, Sacha Baron Cohen, Helena Bonham Carter, Amanda Seyfried and Eddie Redmayne).
The showing was introduced by producer Eric Fellner of Working Title who underlined the commercial challenge of making a film in which all the dialogue is sung and the themes are so political and praised director Tom Hooper ("The King's Speech") for his insistence that every take was sung live.The two main characters are presented in the opening seconds of a sweeping introductory sequence: the police inspector Javert (Crowe) and the prisoner 24601 Jean Valjean (Jackman) in post-revolutionary France.
If Crowe and especially Jackman are excellent, Hathaway - who lost 25 pounds and most of her hair for the role - is outstanding as the destitute Fantine and Cohen and Carter almost steal the show as the comical Thénardier innkeepers.I'm not sure how long it will take for "Les Misérables" to recoup its investment cash- wise, but it's going to win award after award and rightly so..
What an innovative film!Contrary to one of the reviews which canned everything about the movie from the plot to the actors' singing voices to camera angles (by someone who, to me, is obviously not familiar with the live theater productions of this musical nor it appears the he has ever been to any), I find this movie version is a a state-of-the-art capture of one the world's great musicals for the cinema screens!The live singing is superb, showing the fragility (and flaws) of every performer ...
The beauty and squalor of 19th century Paris was showcased magnificently and it really allowed you to become engrossed in story.This is a movie that both fans of the novel as well as fans of the musical can both fall in love with, since even though there are some deviations from the novel this is still the closest a film version has ever come to being completely faithful to the book.
And she's great and she deserved the Oscar but we all (who where aware of the story of les mis) knew that the role was going to win the actress best supporting no matter who it was or how good she played it.I really wanted to like this film and I tried pretty hard but considering a movie this boring goes on for an unforgiving 160 minutes I just couldn't stop pleading for the movie to end.
The real tragedy of this movie is that the people who could have done it justice, those with musical stage capability, never got the chance to make the kind of money Hugh Jackman, et.
The only real weak link is Crowe and it is a shame because he actually fits his character very well, it is just the fact that his singing voice is strained that poses a problem – but it is a big problem when you're making a musical.
Often his portrayal fails to convince me, his expression becomes 'comfortable' looking, failing to exude that sense of despondency that Jean Valjean experiences throughout his life, the subject of the ruthless tyrant Javert's (Crowe) relentless pursuit and character assassination.Big Russ actually seems restrained, almost pensive in some respects and I was glad to see the make-up crew didn't give him a Bonaparte hair-do; Helena Bonham-Carter's, on the other hand, has the look of an electrified troll doll - not to take away from her talents as a thespian, but the look was truly maniacal.I reserve my most ardent criticism for Anne Hathaway.
"The Devil Wears Prada" suited her style, whereas she doesn't seem "mature" enough for this role, she always looks adolescent, her porcelain skin defying the rigours of her character's desperate predicament.If perchance you're a fan of the epic film-musical set to battle hymns, then this version of "Les Mis" might pique your interest once more.
Now I'll admit the only song I really knew going into this movie was " I dreamed a dream" however, the endless non melodic off key vocalization by the entire cast with the exception of Anne Hathaway in my humble opinion simply ruined any chance this production would work for me and those movie goers who were seeking a memorable story put to music.
This movie is an excellent attempt to capture Les Mis on film which mostly succeeds.I've read many of the reviews posted on this site and firstly would like to clear up a few inaccuracies.
Two of the three (in my opinion) gut-wrenching musical numbers come in this section- Anne Hathaway's "I Dreamed a Dream" (which, if I recall correctly, was filmed largely in a single take) and Hugh Jackman's "Who Am I?".
So, I was utterly disappointed when I saw that Tom Hooper did not achieve anything better than the old-timey Italian TV directors could do with staged opera.That is even more surprising because Hooper is working on Les Miserables---the longest-running, most beloved musical of all time.
I confess that I got surprised in the first 15 minutes of the movie, when at no time did the actors stop singing for "normal lines", I had never seen a movie with that format.So I say that the feature film is surprisingly good, even if it seems strange at first.In at least three moments in the story I really was prone to crying (Anne Hathaway simply destroys her role, even though she appears a little bit lightly) and this is something that does not happen often when I watch movies.The plot brings a sad story that at the same time criticizes ancient times of humanity, but can also be understood as a parallel with the world today.The actors are all incredibly good in their roles, both in acting and singing.
Where is Susan Boyle when you need her ?From Hugh Jackmans wondering accents to the little boy on the barricades doing his artful dodger impression and Amanda Sefreid warbling like an anaemic canary this "musical" was a travesty.Surely when you are casting a musical the requisite should be for singers who can maybe act and not actors who think they have a bit of a singing voice in the shower.Les Mis is my favourite all time musical but no-one in there wildest dreams would consider buying the sound track to this hack job.To be fair my wife said it was OK but even she got bored towards the end and there were a few boxes of hankies being used around me but it wouldn't do if we were all the same , would it..
It was simply dreadful.It must have taken a great deal of care and effort to seemingly ruin one of the worlds greatest musicals by simply casting people with weak and utterly uninteresting singing voices that are totally unsuitable for the parts that we all love and cherish.
Russell Crowe, which did seem to be good casting, does manage to impart the feeling of menace to some degree but that is probably just his own character coming though but again, while slightly better than Jackman, does fail in expectation to the stunning songs that his character of Javert has throughout the play.
With such expectation it was just so disappointing to hear the sound track and I would recommend that any one who wants to see Les Mis should see it in a theater where it seems this show belongs but not in a cinema where everything that this show had that made us all love it for so many years has been destroyed by Hollywood or who ever had the nerve to put this film out there.
I didn't even make it through the entire film, walking out after an hour or so.I never had the chance to see the Broadway play, but was introduced to the music by my parents years ago when they brought home the cast recording after attending a performance during a vacation trip.
Russell Crowe played a great 'baddie' but his signing wasn't really the highlight of his role.Sacha Baron Cohen and Helena Bonham Carter were both excellent for the roles they played of the innkeeper and his wife, the lightness in the darkness of the film, very funny.Without giving away and spoilers, its difficult to describe how truly emotionally charged the film is, but as soon as the haunting music and chilling lyrics start, you do get a rush of pure sadness in places.
I think that this time, thankfully, they got it about as "right" as it's ever going to get.Don't get me wrong, it certainly has its flaws, but it rises well above all the other musicals-turned-movies I've seen with the possible exception of RENT.
On the bright side, though, at least the man can carry a tune most of the time, unlike other stars cast in leading singing roles Gerard Butler...My other complaints are solely about some of my favorite lines that were omitted, so not even worth going into detail on, but it leads me to a commendable point: as long as the stage show is, this film did an amazing job keeping it intact!
Not the most outstanding performances of the movie, but the actors did a lot with characters who have so little content, so kudos to them.I live in a city full of pretty shallow people and not a single person I know around here had ever even heard of Les Mis unless I happened to drag them to the Twin Cities to catch a production when it passes through, musicals are NOT these people's thing, yet when the credits rolled, our theater erupted with applause.
That alone speaks volumes to me of the quality of the movie and it's performances.On a side note now - look, I know how a lot of people feel, those who are longtime Les Mis fans and who have a hard time accepting some of this casting.
What a shame that the miscasting of Russell Crowe and Eddie Redmayne should ruin a good half of the movie.A most deserving Hugh Jackman gets to show a wider audience his charismatic Broadway and West End performer side.
What a great movie and such AMAZING acting.Actors that i didn't really know much about such as Anne Hathaway, Eddie Redmayne, Samantha Barks and Isabelle Allen really moved me.I was pleasantly surprised by Sacha Baron Cohen.
The intricacy at which the script revolves around the lead characters and some trivial plot kings is marvelous and unlike Cloud Atlas blunder, everything gels here to bring out a perfect musical.Hugh Jackman is great, so is Russell Crowe but I didn't like Hathway much, maybe because of a personal whim since I saw The Princess Diaries.
This one's got emotions like real life!BEST THING ABOUT Les Misérables: soundtrack, lyrics and music.Can be watched with a typical Indian family?
A truly epic, emotional stage musical is turned into a frustrating and annoying, TV adaptation due to several bad choices made by the director, Tom Hooper, who did the excellent "The King's Speech." Which classic film musicals has Mr. Hooper seen?
Tween girls will fall in love with Marius and songs like "On My Own" all over again and Les Mis the musical is going to have an enjoyable second life.Ultimately, it's a story about Hope, and there's nothing wrong with that.
In fact, you don't even notice when they are going from straight spoken dialogue and back to singing, sometimes even mid-sentence, and sometimes a character is replying to singing with spoken dialogue, as the two get mixed right in together perfectly.It you just want the Les Miserables story in a movie but without the music, then watch the 1997 version directed by Bille August, as that is a really good movie.
Just the same, no matter how well done, a good Broadway quality stage performance of Les Miserables is going to be 5 times better than even a perfect Les Miserables musical movie.
Stand-out song performances included Anne Hathaway (I Dreamed a Dream), Russell Crowe (Stars), Hugh Jackman (Who Am I?), Eddie Redmayne (Empty Chairs and Empty Tables) and Daniel Huttlestone (Look Down).
In another century Les Miserables might very well be labeled an opera.And it's interesting in that the leads are done and well by a pair of non-singers Hugh Jackman as Jean Valjean and his tormentor Inspector Javert played by Russell Crowe.
Well, I watched the movie a few hours ago and I have only one thing to say: remarkable.It touched me deeply and the performances were astonishing.People in the movie theater started to applaud right after the movie was over as if we were in an opera house and cheering ''Bravo''...I think everyone shared an overwhelming experience watching this film.Even though I already knew the story(obviously),and had watched an earlier version of it,I have never imagined that it could turn out to be one of the most amazing films ever watched in my life.If you are planning to go see it you won't regret it and personally i believe it's one of the best musical made for the wide screen.I didn't even notice how quickly time passed and most important I didn't want it to end..That is all..Hope you'll enjoy it too..
By the end of the film he feels more like a close friend than an actor.All other actors such as Ann Hathaway and Russell Crowe deliver near-perfect performances and are also amazingly talented in the singing department.
Les Miserables is an incredible story of how a man can turn his life around from a position of utter despair to a position where he can positively influence the lives of the people round him.The film was beautifully choreographed with fantastic solo performances from Anne Hathaway and Hugh Jackman in particular.
This film takes a chance and decides to finally do something new.The movie was filmed with two major risks involved: first, the actors were to sing live on set, and second, Hooper did not use film transitions, rather he devised a new way of editing I have never seen before in which the cuts are not transitions, rather they follow the songs and the emotions of the characters.
Hugh Jackman sings a touching "Bring Him Home," Russel Crowe sings a rousing "Stars," and Anne Hathaway will break your heart with "I Dreamed a Dream." Even Samantha Barks in her film debut brings acting on par with that of the former when she flawlessly moves you with "On My Own." The emotions brought forth by the actors are often more powerful than the songs themselves.
The rest of the cast was either underwhelming (Helena Bohnam Carter and Sacha Baron Cohen) or bad (Eddie Redmayne, Hugh Jackman, Anne Hathaway, and Russell Crowe).
I have seen Les Miserables 3 times as a stage musical.
This must be a very dramatic event in a person's life as much as the movie is.The characters all did an outstanding performance but I must give the highest credits obviously to Hugh Jackman who not only gave a realistic portrayal of the melancholic Jean Valjean but who carried the story very well to the end, and to of course Anne Hathaway who had a brief but very pivotal role as Fantine.
It makes for an engrossing watch, but for the quality art direction and lush production values to be appreciated, your eyes have to quickly dart around before the next musical number comes on.You'd have your own personal favourite scenes from the musical, and I have three - with the three way romance between Cosette, Marius and Eponine (Samantha Barks) which is ever so brief but no less making a tremendous impact, having Jean Valjean go up against Javert in every instance to allow one to determine whether Hugh Jackman or Russell Crowe would fare better than the other when they sing, and the limited scenes in which Sacha Baron Cohen and Helena Bonham Carter make their appearance as the thieving Thenardiers, providing comic relief for the very heavy themes and story line involving one man's redemption, rivalry, tragic romance, all against the backdrop of a student led armed revolt.Not having the luxury of sitting through a live stage performance of this musical, Tom Hooper has done enough to drum interest to a level high enough to want to do so when Les Miserables comes to town the next time round.
Being in love with the actual Les Mis musical, and having seen it 5 times on Broadway I was disappointed with the movie adaptation.
Les Miserables is my favorite musical and I thought the movie was great and the casting was spot on.