The Washington times., 1935-05-11

the most steadfast Of all the laws
hounds, Javert, the eternal police
man, who for 20 years thereafter
proves an memorable Nemesis.
Laughton Shines
You'll see Vatican, once Made
leine, now Duval, flying through
the night with Cosette, the hapless
waif Of his adoption. Flying from
ever-following Jsvert, leaving
home, happiness, everything be-
hind. You'll see him meet tempta-
ton in a dozen forms, and almost
yield, until the bishops candle
sticks inspire him to make the
sacrifice Of self that is the basic
foundation Of Christianity. You'll
see Cosette grow into glorious
young womanhood to find the love
Of a man, and before this romance
reaches fruition, you'll follow Val
jean through convent gardens,
strife-stained, mob-filled streets,
into the very sewers Of Paris,
trailed ever by the inevitable blood
hound, Javert. You'll grip your
seat through the mad excitement
of chilling, thrilling flight and
pursuit. You'll weep over Famine,
Cosette and Vatican. You'll cheer
his triumphs and tremble when q
threatening fate stretches its
talonS toward him. And when the
last, terrific climax is attained,
you'll rise cheering! For such q
picture is lies MiserableS!"
Fredric March storms the his
trionic heights in what may be
set down as not only q dual, but
a triple role. First as the drab,
bedraggled wanderer, then as the
respected citizen. and, finally, In
one telling sequence, as q luckless,
grinning idiot who. through I'M
fortunate resemblance to the gal
ley slave, is caught, helpless, in
the mangle of the law. Never
once does the actor fa1ter. Al
ways his portrayal is such that
the audience may follow his every
thought through all exigencieS of
the part.
In opposition to Mr.. March
stands Charles Laughton, freighted
with the even greater burden Of
interpreting the hated character
of Javert, whose very name has
come to stand for something,
even as has that Of Judas. No
greater praise may be lavished
on any thespian than that de-
served by MIR. Laughton for max
ing his villain human, under
standable. and, in it's way, laud-
able. Laughton'S Javert is a gut
ter-spawned outcast, determined
to find a place within the pale Of
society, determined to be with
the law instead Of its transgres-
sor, accepting his trust as its
minion blindly, unquestioningly,
rigid, living by the harsh code Of
inhumanity toward man.
His not to reason why, but to
be true to his trust. And this he
is unto the end of his relentless,
tortured life. No more effective
exit from the scene has been con-
trived than that made by Laugh.
ton. And, strangely, there Is no
applause when the william bows
out.
Sir Cedric Hardwicke, in the role
of the good priest, makes his
character an inspiration. Florence
Eldridge and John Beal do well,
and Marilynne Knowlden, who is
the little Cosette, exce1s. And i'm
portantly cast in the company Of
Mr.. Laughton and Mr.. March,
Rochelle Hudson and Frances
Drake rise rather magnificently to
the occasion. Perhaps Miss Drake,
with a stronger. more smouldering
part to enact. leaves . more def
mite impression in her few brief
scenes. But Miss Hudson, as the
convent ingenue, imparts the
f1ower-like fragrance called for by
her role. The direction of Rich
ard Boleslawski is q revelation,
and Daryl Zanuk'S production
approaches perfection. LES Mis-
cradles" in its new form, continues
to be a classic masterpiece.-R. G..
In "CoIIeee ScandaI'