The story is quartered, for all intents and purposes. We meet convict Jean Valjean (Hugh Jackman) as the effects of the French Revolution have been lost and monarchy has taken over the people yet again. When a cleric takes pity on him for his desperation, he becomes a changed man. Years later, he alters his identity to become a successful factory owner. He narrowly escapes the clutches of an inspecter bent on punishing him for his crimes, while taking in an orphan Cosette (played by Isabelle Allen and then Amanda Seyfried as she ages) under his wings. Flash forward again to another uprising on the death of Jean Maximilean Lamarque, the only French government official sympathetic to the poor at that time. Revolutionaries setting up barricades in the streets of Paris provide the backdrop for a love triangle that develops between Marius (Eddie Redmayne), who is loved by Éponine (Samantha Barks), but himself is in love with Cosette.
Les Misérables covers a variety of themes in epic, yet intimate fashion from true to unrequited love, redemption, classicism, selflessness, nature verses nurture, rule of law, oppression, pride, judgment, loyalty, forgiveness. The ambitious tale is filled with show-stopping songs. If you read pundits who single out Fantine's (Anne Hathaway) "I Dreamed a Dream" and insist the movie dies after her arc finishes and the movie lay lifeless for the next ninety minutes or so, I only suggest they're doing their audience a disservice. "Dream" is the most popular song of the musical in the mainstream, thanks partly to Susan Boyle's rendition from a few years ago (not to forget the actresses who helped bring it to fame on stage). But, the fact of the matter is that there are plenty more heart-wrenching and driving pieces that achieve greater highs and often reoccur during the story. The song I was most familiar with, "Master of the House," is a comical bit that is played rather broadly by innkeepers Monsieur and Madame Thénardier (Sacha Baron Cohen and Helena Bonham Carter, the latter of which appears to have stumbled off the set of Sweeney Todd, for better or worse). But, there were many showstoppers: "Look Down," "One Day More," "Do You Hear the People Sing?," "On My Own," "Empty Chairs at Empty Tables," among others.
The musical requires a suspension of disbelief greater than just about any genre out there. With people singing who aren't standing on stage, as well as truncated character development, if you're not willing to look passed these contrivances, then you can't allow yourself to open up to the emotion. Many have joked that comic-book adaptations are considered more believable than musicals, even though they have what are essentially cartoon characters flying around in tights. Yet, because someone like, for example, Christopher Nolan bases his Batman universe "in reality," it's given so much more of "a pass." The truth of the matter is that people don't break into song on the street, so when it's attempted on celluloid it's held up for mockery, first, before being considered for anything else. Frankly, the handful of moments where there is actual spoken dialogue I found distracting.
It's hard not to discuss cinema politics, without acknowledging that some, but not all, of the bile spewed towards this movie relates directly to director Hooper. Had he not won for The King's Speech (a much inferior film, putting it lightly) two years ago, there wouldn't be half the animosity that exists towards this movie. But, it's easy to ignore his bold choice to have the musical filmed with live singing (which provides an undeniable gravitas) and poke holes in his questionable camera choices and staging. Other detractors are more succinct and genuine. The singing isn't always perfect. Russell Crowe, most noticeably, has a nasal voice and lacks breath support. If you don't like him at his first note, then you will have to suffer through his performance. Being a Hollywood film, the producers could have done much worse. Cohen and Carter aren't the best for the roles, but they still service the film. For those who like to malign Hathaway for her indicating acting ticks, they are most definitely there, but, when she sings, she soars. Everyone else was solid, including Hugh Jackman, who infuses his Valjean with an admirable commitment and empathy. Two actors whose performances are given understated press are Aaron Tveit (Marius' compatriot Enjolras) and Daniel Huttlestone (who plays street urchin Gavroche).
Oscar Prospects
(written in early January pre-Oscar nomination announcement) If Universal Pictures had Harvey Weinstein in their corner, than Lincoln would have to kiss Oscar goodbye. I, as well as many others, have been calling Hathaway for the win since she shaved her head on camera after weeks of eating oatmeal squares. My prediction is that she'll be joined in the winner's circle by the Sound Mixers. While the Best Song category is always inexplicably a crapshoot, it seems like almost a given that "Suddenly" will be nominated and win, if it's not eclipsed by "Skyfall." Further nominations seem certain: Best Actor (Best Actor); Makeup; Costume Design; Art Direction, Best Picture. We're looking at a minimum of eight. Cinematography has a little competition, but Danny Cohen, who was nominated for The King's Speech, stands a good shot, as his work, depending on who you ask either enhanced or diluted the source material. I found the camera angles distracting, at times, although not altogether unpleasant. And there were moments that were quite beautiful. I would also say editors Chris Dickens (who won for Slumdog Millionaire) and Melanie Oliver are also formidable candidates. For directing, Tom Hooper tried something never done on film before by having his actors sing live for the purposes of the final product. And, he did so in quite a moving way. There have been lesser directors (including Hooper himself) who have made it into this category, even going on to winning. Whether or not he gets nominated will gauge exactly how much the AMPAS fell in love with this film. Cinematography, Editing, and Sound Editing nods will also speak well of its prospects at a multitude of statues on Oscar night. However, if it manages to snag an Adapted Screenplay position, I'd almost be willing to say Lincoln tell Best Picture goodbye. The fat lady has sung, though, if we see Russell Crowe, Eddie Redmayne, or Samantha Barks pop up with a nod of their own, which is highly unlikely.
The truth is, despite all its warts, I'm still pulling for Les Mis. What I fear is that the love is already waning. It led Django Unchained at the box-office, but has relented its edge since. The fans came pouring out the first week and now it's up to mainstream to keep the momentum going. And, let's face it: when was the last time the queens got a Best Picture? Yeah, I rest my case.
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