It's difficult to wrap my brain around the idea that some people could walk out of this latest adaptation of Victor Hugo's LES MISÉRABLES—the first that attempts to transform the musical/opera (with book by Claude-Michel Schönberg and Alain Boublil, and lyrics from Herbert Kretzmer) into film — and complain about there being too many close-ups. Did they watch the movie with their ears plugged? Of course I noticed that director Tom Hooper (THE KING'S SPEECH) seems to favor bringing the camera in rather close proximity to his actors on occasion, but what I got out of that was proof positive that all of the vocals in this outstanding production were recorded live (rather than lip synched). LES MISÉRABLES is a sweeping, deeply emotional display, featuring great mountains of quite believable suffering. And if you see it and possess a beating heart, you will inevitably weep openly more than once. And you should embrace that experience with your whole body.
I saw the stage production of LES MIS when I was in college. I was sitting about as far back as you could sit in an immense theater in Chicago, and while I could hear the words clearly, I couldn't see a thing. I went with a female classmate who knew the music backwards and forwards, although she'd never seen the show prior to that night. I enjoyed the show, but felt no compulsion to seek out the soundtrack or see it again. And I realized that when you can't clearly see the faces of the actors, it's sometimes tough to keep the characters straight. But compared to that expansive staging, Hooper's film version makes the stage show seem like a flea circus. The scope of the big-screen LES MISÉRABLES feels massive, and it suits the powerful songs and themes of love, obsession and revolution.
The 19th-century story begins with the release of the prisoner Jean Valjean (Hugh Jackman) from prison after years in captivity for stealing bread for his starving loved ones. He has been under the watchful eye of the policeman Javert (Russell Crowe), who vows to continue watching him during his parole, knowing full well Valjean will not be able to find work and will likely slip up and end back in jail. But Valjean breaks parole and begins a new life in another town where he becomes a wealthy factory owner and much-loved local mayor. When one of his workers, a woman named Fantine (Anne Hathaway) is fired for hiding the fact that she has a young daughter, Cosette, she is forced into prostitution so she can continue to send money for the girl's care. Valjean agrees to look after Cosette, but is forced to go back into hiding with Javert hot on his heels.
Jumping ahead to post-French Revolution, the nation is on the brink of the June Rebellion, one of the leaders of which is Marius (Eddie Redmayne), who just happens to spot and fall instantly in love with the now grown-up Cosette (Amanda Seyfried). Meanwhile, watching Marius from afar is Éponine (the magnetic Samantha Barks, the film's sole cast member who actually performed her role onstage as well). In other corners of this conflict, the world remains the same as Javert continues to pursue Valjean for no reason other than his sheer willpower won't allow him to do anything else. I know I'm skipping over major plot elements, but that's probably more than you need to know going in. Needless to say the film doesn't skimp on story or music.
As mentioned earlier, all of the vocals were recorded live, and the result allows for more immediate and emotionally raw performances from everyone. This is no more evident than watching Hathaway's total on-screen meltdown singing "I Dreamed a Dream" through rivers of tears. The impact it had on me was devastating. It helps that everyone sings so well in LES MISÉRABLES, with some variations that are made up for by great acting. Although his singing voice is a little rough, it seems appropriate that Crowe sound that way. I also especially liked the way Seyfriend and Redmayne seem to share similar old-timey vocal styles, the kind you might hear singing Cole Porter tunes in the '30s or '40s. A young couple in love should sound like they have their own language.
The story's rare instances of levity come courtesy of Mr. and Madame Thénardier (Sacha Baron Cohen and Helena Bonham Carter) as the innkeepers who look after Cosette when she's a little girl until Valjean comes to rescue her. And it goes without saying that Barks' rendering of "On My Own" is simply stellar, although it rightfully feels smaller and more forlorn than what might be required on stage.
Only knowing a couple of the songs well, I went into LES MISÉRABLES not sure what I'd be seeing and feeling completely floored by the overwhelming emotion it drew out of me. Technically, the show is an opera since every word is sung (although there are a few tuneless words that come through in the film version), and if it seems strange at first, you get used to it (great singing makes the adjustment easier). Sure, director Hooper makes a few odd camera choices throughout, but nothing can take away from the sheer weight and substance of the source material in the hands (and throats) of some truly gifted performers.
