‘Les Misérables’ literally translates as ‘the miserable ones’ so it is fair to say that you expect to shed a few tears when watching this film.
Based on the novel of the same name by Victor Hugo, Les Misérables is the beautifully moving and intertwining story of the reformed convict Jean Valjean (played by Hugh Jackman), the lovers Marius (Eddie Redmayne) and Cosette (Amanda Seyfried in her first musical role since Mamma Mia!) and the revolutionary spirit of a group of young men.
Despite being a flop when Cameron Mackintosh first brought it to London’s West End in 1985, the musical has now been seen by more than 60 million people worldwide. The wait for this adaptation to the big screen has been an anxious one and many lovers of the musical were expecting to see it fail, simply because it relies on the raw emotion that translates so well in the theatre and perhaps not so well onto the screen. Les Misérables relies on its actors’ abilities to capture their audience’s imaginations and to take them from laughter to tears in the space of one musical soliloquy and there was a danger that an all-star cast could gloss over such depth of feeling with the desire to maintain appearances and polish. However, director Tom Hooper decided to blacken his actors’ teeth and to record their singing live, and this works to great effect. The orchestra has been added in later, thus allowing the actors to sing in the moment, rather than in a studio later on. Fantine’s (Anne Hathaway) voice wavers and breaks as she mourns her descent into prostitution and poverty and it feels real, not merely a Hollywood attempt at emotion; we believe in Fantine. Indeed, Hathaway demanded that her own hair was hacked off in this scene and each flash of the scissors shows her commitment to a role that has touched audiences for 28 years.
The Hollywood stamp does not, however, seem to extend to the sets of the film which, at times, can seem rather low budget. The opening scenes are on an impressively large scale with vast amounts of water, filthy men and ships but the sets seem to degenerate from here. Indeed, by the time it comes to the revolutionary stand, the barricade seems more akin to a very untidy and small furniture shop. Hooper seems unwilling to take his film production too far away from the stage and some sets seem incredibly similar to those you would see in the West End.
The film begins with Valjean’s duet with Javert (Russell Crowe) which foreshadows a merciless chase throughout the film. Jackman is unrecognisable in this opening scene and, like Hathaway, one can see the hardship he has put his body through for the starring role. Valjean becomes a reformed Christian after being forgiven for theft by the Bishop and vows to escape parole and turn his life into one of Christian goodness. However, running from oneself turns out to be as impossible as it sounds, particularly when the duty-bound Javert is the enemy.
Even if you haven’t see Les Misérables, you are probably familiar with its songs. ‘I Dreamed a Dream’ was downloaded by a whole new generation in 2009 when Susan Boyle’s Britain’s Got Talent audition became an internet sensation overnight. The soundtrack is incredible because it tells the story; there are only one or two lines of speech within the film (the little dialogue there is often feels disjointed because it is so clearly out of place) and it is through the actors’ powers of enunciation that we are able to understand every emotion, every idea and every history of every character. It is little wonder, therefore, that the film soundtrack has already topped the US Billboard chart with over 92,000 copies sold and the UK charts look set to follow suit. Strangely, the closing number ‘Do You Hear the People Sing?’, the song that rouses the people of France to revolution and a pivotal scene, is absent from the soundtrack but highlights include ‘Look Down’, ‘Stars’ and ‘Heart Full of Love’.
Crowe takes centre stage with ‘Stars’ and, unfortunately, emphasises the fact that his singing voice isn’t as much of a revelation as everyone else’s. However, Crowe still commits to the role (unlike a certain Pierce Brosnan in Mamma Mia! whose eyes can do nothing but apologise when ‘singing’) and we can forgive him for his wavering vocals because we believe in Javert. Indeed, compared with the booming power of Jackman’s voice, it was always going to be difficult to measure up.
Les Misérables is a story of hardship, sacrifice and suffering so it is quite amazing that Sasha Baron Cohen and Helena Bonham Carter manage to inject such comedy into their roles as Thénardier and his conniving wife. The couple amply portray the parents of the ill-fated Eponine played by Samantha Barks, originally a contestant on the TV show I’d Do Anything in the quest to find a new Nancy for Oliver!. Barks’ rendition of ‘On my Own’, a song of unrequited love, will break your heart. The pair’s song ‘Master of the House’ is infectious and the duo manage to add physical comedy that will leave you chuckling through your tears. Valjean alone refuses to be taken in by their grovelling ways and his disgust is well justified when Thénardier bodes Cosette “farewell, Courgette!”.
Les Misérables is a portrayal of society, love and what it means to be an individual. Despite its setting in the 19th century, the soundtrack is modern and its revolutionary spirit leaves audiences feeling uplifted and inspired. Love can triumph afterall. It is an incredible achievement to make such a successful stage musical a wonder to watch on the big screen. Take a tissue, though, because you will shed more than one tear. On second thoughts, you might need a box.
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