This is my first brush with Victor Hugo’s famous story; I have never read the book, nor seen any of the numerous earlier versions, some of which are considered to be pretty good. I’m quite sure, however, that I will never be able to see any other version, now, without thinking of this one, and having the haunting music in my head as events unfold. Tom Hooper’s direction of this immensely popular property is generally solid, making it a definite front-runner for 2012 movie awards.
I have seen the preview wherein Anne Hathaway sings “I Dreamed a Dream” at least ten times over the last few months, and it has never failed to move me; it’s a great example of how thoughtful choices and editing can develop a preview that is both singular and effective. Thankfully, that scene in the film is even better, as Fantine rails against the woes that have overwhelmed her existence. There wasn’t a dry eye in the theater after Hathaway’s heartfelt, powerhouse performance of that song. She is marvelous in the role and the favorite for a Supporting Actress Academy Award.
Hugh Jackman is impressive as Jean Valjean, though he seems to struggle with the higher notes of his musical role. He portrays the reformed thief with stalwart poise and a smattering of charm; for me this is one of those leading roles that isn’t nearly as interesting as secondary characters. I like Russell Crowe quite a bit as Javert, the relentless policeman for whom compassion equals weakness. Crowe’s voice, much lower than anyone else’s, reflects Javert’s working class stature quite nicely. Eddie Redmayne is impressive as Marius and Samantha Barks just about steals the show as Eponine. Other cast members include Amanda Seyfried, Sacha Baron Cohen, Helena Bonham Carter, Aaron Tveit and Daniel Huddlestone.
Unlike most modern musicals, Tom Hooper directs this one with a largely static camera and an incredible amount of closeups. Sometimes the camera seems too close to the actors; they don’t need it to be so near to convey emotion. Long takes are the norm, especially during the songs, and I appreciate that technique. The cast actually used earpieces to hear piano background music and sang their songs live on camera, which is another technique that works. The norm, of course, is to lip synch and dub the vocals later, but sometimes that looks awfully phony. I have never understood why more musicals don’t use the “live on camera” technique; it’s more organic, realistic and effective.
About 98% of the dialogue is sung in Les Miserables, which is another departure from the norm. Because of so much music, only a few songs really stood out to me, the top one being “I Dreamed a Dream.” Further viewings (and listenings, once I get the soundtrack) will undoubtedly identify other really good songs. The movie seems to be pretty faithful to the play, which is yet another plus. The movie is surely not subtle, and it cannot help but be rather depressing, considering how many of its characters die or are killed. But it is also hopeful, ending on an appropriate high note that rejoices in life. It’s a strong film that is probably less cinematic than it should be, but which faithfully recreates the phenomenon of the stage show in a mass market media event with a great deal of quality. ☆ ☆ ☆. 1 January 2013.