THIS IS NOT A SPOILER FREE BLOG
After a few long months, I think it's time I dust off this once loved blog and write a little more. And what better way to make a comeback than with a review of the most highly anticipated film of the year?
I am of course talking about Les Misérables.
We have all been waiting in anticipation for many months for Tom Hooper's adaptation of the much loved musical and for me, it did not disappoint. I am a huge fan of the musical and have followed the progression of the film from the outset, knowing that parts I would adore and parts would fail to quite live up to seeing it in live theatre.
The very opening of the film gave me shivers: the wonderful shot of the camera sweeping over the boat descending down on Jean Valjean was amazing. I have to commend the cinematography; producing a film in this way gives so many more opportunities that the stage show does not - this dramatic opening being one of them. The small moments which focused in on close shots of characters gave an elevated appreciation of the acting which is more available than in live theatre.
As for the casting - and Hooper's choice of live singing - I was not disappointed.
Jackman's Valjean was superb. Although I must admit I was not entirely a fan of his staccato take on some of the bigger songs - note 'Who am I? I'm Jean Valjean' - when he went for the huge notes, he was incredible and the acting choices made were phenomenal. For a Hollywood film, I could not have asked for a better Valjean, though having said that my preferences in the theatre would lean more to the likes of Boe and Wilkinson.
Speaking of, casting Colm Wilkinson as the Bishop was possibly the best casting decision made in this film. It was at the moment he first appeared on screen that I shed my first tear. His voice is simply beautiful and it was so wonderful to have him be part of this production. The passing of the candlesticks to Jackman was an almost 'passing the torch' moment which was truly touching and his appearance at the end to the spirit of Valjean nearly sent me over the edge. A wonderful addition and much appreciated by a fan of his.
Valjean's counterpart Javert, played by Russell Crowe, was sadly the weak link in this film. I'm sad to say that Crowe just could not hold the same notes that we are used to and his rendition of 'Stars' left me wanting more and aching for a more powerful voice. Though he improved by 'Javert's Suicide' I was still left feeling empty by Crowe's performance and sadly, he was not the imposing then conflicted Javert we are so used to, he was simply an actor playing a role.
The same cannot be said for Anne Hathaway. When I first read about her dedication to the part - to the point where her hair was cut live on set - I knew that her commitment to this role would be the key to her success. I rather enjoyed the displacement of 'I Dreamed A Dream' to after her decent; it gave the song much more depth and pain and Hathaway's rendition was truly heartbreaking. Though she only featured for a mere 15 minutes, each was precious and each was phenomenal.
Her daughter, Cosette, was played by two actresses - both equally commendable. Isabelle Allen as the young Cosette gave a wonderfully haunting performance of 'Castle on a Cloud', in particular the scene in the woods in which she first encounters Valjean. Her chemistry with Jackman and Sacha Baron Cohen (Thénardier) was greatly executed and she may well grow up to be a lovely young actress. As for Amanda Seyfried, her voice gives me such pleasure. When she hit those high notes, it was beautiful to hear. She played Cosette extremely well and with conviction and she too had great chemistry with her leading men - Jackman and Eddie Redmayne.
Redmayne's Marius was equally fantastic. Though I'm yet to fully read the novel - I'm still lingering in the early chapters - I'm lead to believe that the film added parts of the story taken from the original book, most notably the addition of Marius' grandfather. This, I thought, was an excellent addition, giving Marius a rather deeper character than the loved-up one we are so familiar with. Redmayne's acting is superb and though at times he could be vocally weak, 'Empty Chairs at Empty Tables' had me sobbing throughout, as did 'A Little Fall of Rain'. His eyes were so expressive, the emotion leapt directly off the screen.
But credit for this must also be given to Samantha Barks as Éponine. I have always been attached to Éponine's character and the despair linked to her, making her story only more tragic. We all knew that Barks would not disappoint vocally, having played Éponine many times before; however in the film, she was given the opportunity to add nuances previously unheard due to the necessity to project. I could not have asked for a better Éponine - although I was lobbying for Lea Michele during casting - and I wish Barks much success in her future.
The revolutionary leader, Enjolras was played by the wonderful Aaron Tveit. As a huge Tveit fan, I was hoping for him to stand out and prove to those with me why I adore him so much. And he did not fail me. He was so convincing as a leader that I felt myself edging closer to the screen and wanting to join in with 'Do You Hear the People Sing'. Though the displacement of this song to after 'One Day More' was a little confusing, I thought the way it was amalgamated with Lemarque's funeral was incredible. The parade down the street, singing on the tomb was incredibly moving and Tveit's vocals were so powerful. Hooper's choice also to have Enjolras shot through the window holding the flag was also inspired - whether this comes from the novel or not, I do not know - it was an image that will haunt us forever.
I cannot continue without a mention of Daniel Huttlestone as Gavroche. The cheeky, Cockney quality that Cameron Mackintosh describes in relation to the street urchin was epitomised by Huttlestone's performance, in particular the scene with the hand over of the letter to Valjean. I loved 'Little People' and found Gavroche's death equally moving, so I must commend Huttlestone for his fantastic work.
Finally, I must conclude my analysis of characters with the incredible Thénardiers. Sacha Baron Cohen and Helena Bonham Carter make the most wonderful duo on screen adding the humour that in a despairing musical is so sorely needed. I thought they were fantastic together and loved the interaction and chemistry between the two: 'Master of the House' will forever be remembered for their comic timing and skill.
I believe that we were ready for a film of Les Misérables to be made and I believe that Tom Hooper was the right one to do it. I was in awe of his directing choices and the nuances that tugged at our heartstrings and made a huge fan of the musical feel at home. I would go back to see it in a heartbeat and I would cry equally loudly the second time and nobody could stop me. I was that impressed. I'm sure this is not the only opinion, there are many who won't agree, but I loved the film and hope that it wins the awards it deserves.
After all, the musical will live forever - something with such power and so many followers cannot die away - and now we have a new, exciting, cinematic adaptation that I for one can watch every day on DVD. From the opening shot over the boat to the final shot of the ensemble - which felt very theatrical - I was in awe. Thank you Cameron Mackintosh for bringing Les Misérables into our lives and thank you Tom Hooper for bringing it to our cinemas.
Until the moment I can relive it, I will remain here, curled up in my duvet, sobbing to myself at the wonderful spectacle I have witnessed, moments of which will remain engrained on my brain forever along with the haunting melodies that already do so.
