Review: Les Misérables (2012)

December 24, 2012 Reviews 1 Comments

Cast: Hugh Jackman, Russell Crowe, Anne Hathaway
Director: Tom Hooper
Country: UK
Genre: Drama | Musical | Romance
Official Trailer: Here

Editor’s Note: Les Misérables opens on Christmas day. For an additional perspective on Les Misérables, read Jason McKiernan’s review. We’d love to hear your take, please leave a comment in the comment section below.

Despite the novel, the world-famous, long running stage phenomenon and countless film adaptations, I had no idea what Les Misérables was actually about. So naive was I that going in to this latest film version, it didn’t click as to what the title referred to. Of course now, I realise it is as bad as not knowing what Snakes On A Plane is about. Had I been more on the ball, the opening 20 minutes in which characters who are 19th century society’s mud on the slummy streets of France are forced into stealing and prostitution to survive, might not have come as such a shock. This is some heavy stuff. Now I know why they gave us a chocolate bar at the preview.

Hathaway tearily belts out I Dreamed A Dream early in the piece - a rousing, goosebumps inducing number that, despite another two hours of songs to follow, proves to be the film’s high point.

Flung into the deep end of depression without a floating ring, I soldiered on through the hardships of these characters. After 19 years of imprisonment (read: slavery) for stealing some bread to feed his dying sister, Jean Valjean (a beautifully emotive Hugh Jackman in top form) is released and after a short stint living on the streets, turns his life around to become Mayor and factory owner. His life as a former convict is threatened to be revealed by suspicious investigator with a chip on his shoulder Javert (Russel Crowe who tries his best but seems to occasionally struggle), who was a guard when Jean was a prisoner.

Anne Hathaway plays recently fired factory worker Fantine (her co-workers conspired to get her shafted, their handsy supervisor didn’t waste a moment doing it) who immediately turns to selling her gorgeous flowing locks of hair, teeth and body for money to send to her daughter Cosette (Isabelle Allen) who lives in the care of abusive innkeepers Thénardier (Sacha Baron Coen) and his wife (Helena Bonham Carter). Hathaway tearily belts out I Dreamed A Dream early in the piece - a rousing, goosebumps inducing number that, despite another two hours of songs to follow, proves to be the film’s high point.

For those in the same clueless boat as me (I’m sure I could count you all on one hand) it is not all doom and gloom. Sure this story likes to dwell on the dark and dank, but for us to experience hell, we must also experience hope. There is a sweet love-at-first-sight love story (albeit tainted with drama, of course) between a grown up Cosette (Amanda Seyfried) and young French revolutionary leader Marius (Eddie Redmayne) to give a hint of sweetener, as does the comic relief of the innkeepers. There are also some uplifting moments of sacrifice, redemption, responsibility and unconditional love delivered by the singing cast of characters.

There are also some uplifting moments of sacrifice, redemption, responsibility and unconditional love delivered by the singing cast of characters.

I have already prepared myself for reactions against my main criticism of this film, so jeer and scoff away, but there is too much singing. I don’t have a problem with singing in films - it has been done effectively in other stage-to-film adaptations like Grease and Chicago but spoken dialogue is sorely missed in Les Misérables. Every line of dialogue is sung (even some of the most innocuous ones) in which the actors try to wring emotion from every single word. A couple of hours of this is, quite frankly, exhausting. With wall to wall singing, we might as well just go and see the stage production. And kicking off with such powerful musical moments, such as Hathaway’s showstopper, leaves the film with no place to go dramatically, except to maintain the high level of drama that has been established. There is no crescendo - it is kept consistently at a peak throughout its grueling 160 minute run time.

But stick with the incessant singing and you will come away rewarded. These are some of the most compelling characters and story lines you will witness this year. This potent story grabs you by the collar and never lets go.

65/100 ~ OKAY. Kicking off with such powerful musical moments, such as Hathaway’s showstopper, leaves the film with no place to go dramatically, except to maintain the high level of drama that has been established. There is no crescendo - it is kept consistently at a peak throughout its grueling 160 minute run time.

By Julian Wright

I am a film reviewer and blogger from Perth, Western Australia. I fell in love with cinema at an early age when I saw my first horror film and realised the impact movies can have on a person. For me it was terrifying me into an almost catatonic state. Later it was how much they made me laugh and cry. I'll watch pretty much anything and love indulging in a good film discussion.