2 ½ stars (out of four)
It’s a technique used to particularly devastating effect in
Anne Hathaway’s show-stopping first act number, “I Dreamed a Dream.” As she
laments a dream long gone and faces the cruel reality of her life, tears stream
down her face. We can hear the pain in her voice and see it too. It is the sort
of jaw-dropping moment that freezes time and is the reason musical fans flock
to movies like this one and their stage counterparts. Nothing else in the film
matches its emotion.
Ms. Hathaway’s Fantine, a prostitute who sends money
regularly to a daughter she never sees named Cosette (the sweet and very
talented newcomer Isabelle Allen), is but a minor player in a large cast of
miserable men and women in nineteenth century France. There is the story’s
hero, Jean Valjean (Hugh Jackman, commanding the screen as always), a former
slave who has spent half his life in bondage as punishment for stealing a loaf of bread. Valjean
is given a new lease on life from a gracious and forgiving bishop (Colm
Wilkinson) who catches Valjean taking silver from the church in the middle of
the night.
Then there is the emotionally tortured Inspector Javert
(Russell Crowe), a man wed to the law and desperately (even bizarrely) committed
to catching Valjean, who has broken his parole, and seeing justice served. Mr. Crowe lends the role a
certain sense of dignity and authority but, regrettably, is the weak link
vocally in the cast. He doesn’t embarrass himself or anything but the disparity
in talent is clear whenever he shares the screen with Broadway darling Hugh
Jackman.
The themes in the film’s first half – justice, honor, duty,
forgiveness – are well-suited to the grandeur and beauty of the songs, taken
from the 1980s musical which was, in turn, based on the 1862 novel by Victor
Hugo. But rather than painting on an huge canvas, where the pain and heartbreak
of these characters might have gotten lost, Tom Hooper focuses closely on his
actors.
There is a raw quality to the performances, which were
recorded live on set. The actors’ expressions match their intonations, and the
songs become intimate in a way they could never be on stage.
Despite his best efforts, however, Mr. Hooper cannot
overcome the weaknesses of his source material. In the final act, the film
leaps forward in time and is hijacked by a new generation of miserable people.
Two young men, Marius (Eddie Redmayne) and Enjolras (Aaron Tveit), lead a
revolution to overthrow the government, but Marius becomes distracted by a
beautiful girl he sees in the marketplace – Cosette all grown up (a
lovely Amanda Seyfried). Marius is so overcome with puppy love that he
barely notices the girl next door, Éponine (Samantha Banks), who longs for his
love and affection.
But the sting of unrequited love pales in comparison with
what Valjean and Fantine had to endure. (OK, so he likes you but he doesn’t like
you like you… Try being a slave! Or a
prostitute! Kids these days have no perspective…) And speaking of Valjean,
where is he in the last act? Why is he sidelined and not a major player in the
revolution?
Even when the story falters, however, the movie looks great.
Cinematographer Danny Cohen beautifully films production designer Eve Stewart’s
sets, and though Tom Hooper resists overplaying the epic qualities of the
movie, there is no mistaking the hugeness of the production. This is prime
Oscar bait and no expense is spared.
Les Misérables is
also bolstered by a strong ensemble cast, including a wonderful Sacha Baron Cohen as a
pickpocketing innkeeper and Helena Bonham Carter as his wife and partner in
crime. Watch too for that little scene-stealer Daniel Huttlestone as a young
boy scampering through the gutters who assists the revolutionaries.
Now is probably a fair time to acknowledge that I’m not big
on musicals like this. I’d be surprised if a fan of the stage show was
disappointed but then, having never seen the original production myself, I have
nothing to compare the film to. And at 158 minutes, boy, is this movie long.
I’ll never say I didn’t get enough Les Mis
for my money.
- Steve Avigliano, 1/5/13
No comments:
Post a Comment