Les Miserables: Connects Through Character

I should preface this review by saying one thing: I’ve loved Les Miserables for years.  Now, when I first heard word about the adaptation of the musical to film, I was ecstatic. Awesome! I thought. I’ll see it for sure. I never thought twice about the quality, or if the film might uphold. After all, people see “Les Miz” in tiny high school auditoriums and still have a blast.

 But as the opening drew closer, and the first clip was released of Anne Hathaway as Fantine singing, “I Dreamed a Dream,” I was stunned. She sounded bad and it was on purpose. The legendary beautiful ballad was gritty and messy—and I loved it.

Les Miserables centers on a man named Jean Valjean (Hugh Jackman), criminal 24601. He was sent to prison after stealing a loaf of bread. While in chains, an officer named Javert (Russell Crowe), keeps a lurking eye on him. But Valjean is eventually freed, and offered refuge and a warm meal by a kind priest. Though in the night, Valjean steals his silver and flees.

When the police catch Valjean and present him as a thief before the priest, the priest replies that he’s an innocent man. Valjean sees the mercy of God through this experience and promises to dedicate himself to the Lord and be reborn.

Years later, when he has become Mayor, Valjeans meets a young prostitute, Fantine (Anne Hathaway) who is dying of tuberculosis. She has a daughter named Cosette (Isabelle Allen) whom Valjean promises to father. He wants to repay the deed of kindness he was rewarded with all those years ago. But another part of his past comes back to haunt him when Javert recognizes him as the criminal 24601 that broke his parole. Javert is set on inflicting justice.

Valjean is plagued by Javert’s hunt, but still keeps his word and raises Cosette (Amanda Seyfried) to be a lovely young woman. At the cusp of the French Revolution, we’re also introduced to a band of the resistance, the Friends of the ABC. Marius (Eddie Redmayne) soon falls for Cosette, although his friend Eponine (Samantha Barks) longs for his requited love.

The story is that of redemption, each character discovering their own path to understanding justice and the true causes they’re fighting for.

Hence, Les Miserables is the epitome of epic. It's also completely sung and although not technically an opera, very similar. Most audiences aren’t accustomed to this sort of art form, especially in a movie theater. But what’s exciting about Tom Hooper’s film is that it forces you to watch—and because he imposes his style with delicacy, you can’t look away.

All the singing is done live and the wear and tear on the actor’s voices only helps to illuminate the vicious reality of their characters’ lives. Hooper also shoots the majority of the songs in close up shots. It’s just you and the character and their words, which creates an incredible intimacy that isn’t nearly as present in the musical.

Some actors master this more than others. Jackman’s early number “Who am I” is perhaps the best moment in the film. Hathaway also gives an inspiring performance. Her rendition of “I Dreamed a Dream” indeed, proved enrapturing. Usually sung with elegance, Hathaway was able to reveal the lyrics’ intrinsic devastating nature. Redmayne and Barks also delivered fantastic renditions, and perhaps the only weak link was Russell Crowe.  Vocally, he was disappointing and his bland portrayal of Javert completely skewed the emotional payoff of the film.

Hooper made a choice. He sacrificed the songs for the scene. Jackman noticeably shied away from the tenor high notes that make ValJean’s songs so emotionally riveting, especially in “Bring Him Home.” But Les Miserables has been performed millions of times in dozens of languages for over 25 years. Hooper deserves applause for taking a new approach. We may not hear the music soar, but perhaps our opportunity to connect with the characters is greater than ever.