Getting one of the biggest, most successful musicals of all time on to the big screen needs to be commended. Not deserving of an instant passable grade, mind you, but a nice little congratulations. Now that's out of the way, let's dissect director Tom Hooper's newest emotion puller: Like its source material, LES MISERABLES needed to be a bombastic theatrical experience. Unfortunately, despite its enjoyable fare and embellished but brief grand moments, it has been handcuffed significantly, focused more on the personal experience instead of an audience experience.
Jean Valjean is finally released from his 20 year prison sentence for the heinous crime of bread-stealing. Considering that the time is set during the pre-French Revolution, this is a mighty fair big deal. His parole casts a dark shadow on his life, as he is forever unemployed and constantly on watch by his former prison guard Javert. Moved by the generosity of a priest, he forges a new life and name. Time passes but he still fears the forever heat and anger of Javert, who will never leave him alone until he is shackled again. Valjean then gets caught up with the lives of a starving employee and her daughter, all the while the poor are starting to revolt.
This has to be one of the worst cinematography for a musical in recent times. Hell, even the losers who worked on ROCK OF AGES knew how to photographed a musical performance. The problem lies with the framing; Danny Cohen's rented camera is forever stuck in the closeup position. Sometimes, it gets worst and goes further into the actor's skin and nose. If you love being distracted by water droplets and the plentiful piles of phlegm during the many big songs, you will be overwhelmed with "delight". This intense, singular focus on the characters and the actors' much-hyped live singing ruins any chance to relish the world they reside in. All of the production designers should be rightfully furious that their hard work on the sets and costumes are completely obscured by large human heads. Even when a rare number is done with medium or, dare they, long shots, the viewing problems are compounded further by the dreadful quick editing by Melanie Ann Oliver and Chris Dickens. For instance, "Empty Chairs at Empty Tables", a very important song in the second act, is crafted only in two shots: one of a character rapidly planting a seat, then one long closeup of the character. That's right, the empty furniture and their significant metaphors are nowhere to be seen.
Of course, the only times where these detriments become advantages for the movie is with the performances. The absolute god-send for this close up direction is Anne Hathaway. Turning a walking plot point and transforming it into a real character, Hathaway does wonders with Fantine, the lowly, tragic working mother, most especially in her one take of the number "I Dreamed a Dream". Even if you are sick of hearing it everywhere in your modern life, the song becomes fresh and moving again, thanks to the bright lass. Coming up in second would be Hugh Jackman, whose Valjean exhibits a range of turmoils yet features a mighty fine voice. Except for the experienced and briefly delightful Samantha Barks as Eponine, the rest of the cast is genuinely adequate. The only failures, and the clearest displays of stunt-casting, would be Russell Crowe as Javert and Helena Bonham Carter & Sacha Baron Cohen as the Thenardiers. Crowe may exude harsh justice in his brief acting lines but his sub-par booming singing style and doughy appearance make him seem completely out of place. As for Carter and Cohen, they snore their way through the songs that are supposed to be the show-stoppers.
I may be stringent with my assessments but LES MISERABLES was still an okay time. If you can stomach the two hours and ten minutes of Carl Dreyer-approved camerawork, you can relax and enjoy. A local traveling theater production of LES MIS is still the more ideal form of entertainment, though.
FINAL REVIEW: 3 / 5
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