Les Miserables is less a musical and more of an opera. Most of the lines are sung, and there are no breaks for big dance numbers. Director Tom Hooper takes the best parts of Victor Hugo’s novel as well as the musical to craft a very emotionally wrenching story about love, misunderstanding, crime, and sadness. Though it drags in its third act, Les Miserables contains enough compelling relationships and set pieces to keep the viewer’s attention.
For those who don’t know the background of the Victor Hugo Novel, the movie takes place over several years. The main story revolves around Jean Valjean (Hugh Jackman) getting his release from prison after stealing a loaf of bread. After breaking his parole and devoting his life to god, he elects to take care of Cosette (Isabelle Allen), daughter of Fantine (Anne Hathaway), the prostitute fired from Valjean’s factory because she was supporting her child via prostitution. Fast forward a few years, an older Cosette (Amanda Seyfried), has fallen in love with revolutionary Marius (Eddie Redmayne); however, Inspector Javert (Russell Crowe) has tracked down Valjean after a years long search forcing him to separate the young couple. All of this is happening during the middle of the uprising of the populace against the government in France.
This version of Les Miserables is derived from the musical. As such, the adaptation has strengths and weaknesses. The majestic scope can be more properly expressed in the film version (due to stage constraints) and the cutting between singers flows a lot better. However, some of the intimacy of the stage is lost in the barricade scenes due to the expanded scope. Knowing this, Director Hooper elects to have the actors and actresses sing their own songs accompanied by facial closeups. This is a bold decision that threatens to tear the movie apart (Crowe is not the strongest singer and Jackman could be better). Fortunately, Hooper recruited some of the stars of the Broadway version to reprise their roles (Eddie Redmayne and Samantha Banks as Eponine) who provide richness to the voice palate, and the closeups keep at least the first 2/3 surprisingly affecting. When the scope expands to the revolutionaries, the movie’s pacing ebbs and flows similarly. Gavroche and Eponine’s bigger moments are captivating while Javert’s confessions and the plight of the revolutionaries lacked the necessary punch to the gut they should create. Les Miserables hits more than it misses with its cinematic recreation, but it isn’t perfect.
The art directors will certainly merit Oscar consideration. The costumes of both rich and poor successfully recreate war-torn France in the 1800s. The battles seem both large and small at the same time using tiny streets and homemade barricades. The color scheme of greys with flashes of color populate the screen like a silent voice telling the viewer where to look. The art direction’s best moments are in the decay of certain characters. Jean Valjean, for instance, is a labored peasant type at the beginning, a paternal governor in the middle, and an old man by the end. The makeup department goes to great lengths to highlight the feelings of Valjean through subtle makeup changes over the course of the film.
Much of the credit for Les Miserables goes to the actors, some more surprising than others. Hugh Jackman gets the most screen time as Jean Valjean. I was worried about his ability to carry the array of emotions necessary to fully form Valjean’s character; Jackman is ready for the challenge and while not always on point (Bring Him Home was a little underwhelming), he nails the character shifts over the course of the film. Russell Crowe’s Javert is written as one-note, and Crowe tries to give him something, but he ends up being underdeveloped and a distraction due to Crowe’s voice. Sacha Baron Cohen and Helena Bonham Carter are two of the weaker characters, but the levity they bring to the movie was so welcome I forgave that fact. Eddie Redmayne and Amanda Seyfried are also fairly solid in their voices/roles. Les Miserables’s highlights are 3: Daniel Huttlestone as little Gavroche gets a couple great scenes, maybe not to showcase his voice, but to give the character some selfless bravery. Samantha Banks would merit consideration as best supporting actress if not for #3, but she is the biggest reason the revolutionary part of the story doesn’t lose meaning. Banks shows loss beyond her young years at the thought of unrequited love and absolutely nails her big songs. I had a friend who told me though that “They should just give Anne Hathaway the Oscar for her performance in the trailer.” What makes her Fantine so special is because of what Hathaway brings to the character; her singing voice I knew was decent, but it was much better than I expected. I Dreamed a Dream is a song that has been in the back of my head for years, but I never quite understood the context until Hathaway has to carry the entire song in closeup. That solo is one of the movie highlights of 2012, with Hathaway simultaneously singing flawlessly while conveying several emotions over the course of the 4-5 minute song.
Musicals come in all sorts and sizes. Usually musicals find some whimsical way to pass the time with fun dance numbers and some sort of over the top emotional declaration. Les Miserables uses constant singing to ground the story in relatable emotions and tragic understanding. It is bold, ambitious filmmaking that rewards those interested in the story behind the musical as much as musical lovers alike. Like Jean Valjean, Les Miserables has its flaws, but everyone knows that its heart is in the right place.