More than one world, actually. The world of Henri fortin, the world of Roger Fortin, the world of the zimans, and the world inside the head of an ordinary man who, by treasuring the story of one of the great heroes of French literature, absorbs some of his greatness. Even those who are not devotes of musical theater will find themselves emotionally manipulated by working Title films latest version of — the novel, turned Broadway sensation, turned Christmas movie blockbuster of —. Les Miserables on an epic scale. Les Mis, as a theatrical enterprise was always about sweeping sentimentality. And the grandiose 1862 Victor Hugo novel, which translates to, the victims, was never short on ennui either. This film version is a particular tearjerker because of the much-discussed live action singing and some excellent casting.
Les, miserables, movie, review
Gradually, in a other transformation that is one of the most intriguing uses of literature i have seen in the movies, fortin begins to absorb some of the heroism and liberalism of the hugo character, and becomes a hero himself. Advertisement, the movie's World War ii sequences play like separate short stories. There is the non-relationship of Madame ziman, now a nazi prisoner, with the german officer who fancies her, accepts her rejection, and later helps her escape. And Ziman's own bizarre adventure, when he is hidden in a cellar by a farmer and his wife, and pays them from his Swiss bank account. Reluctant to stop collecting his money, they do not tell him when the war ends. The film is a wealth of incident: boxing matches, prison escapes, review overland chases, a train robbery, high society, low crimes. And the postwar sequel makes a pointed comment on the fact that some French collaborated with the nazis, some did not, and in the postwar years justice was not always properly distributed among them. What I liked about "Les Miserables" was the expansive freedom and energy of its storytelling. Lelouch, like hugo, dickens, balzac and the other great 19th century novelists, is not riveted to a central story line, but proceeds in the general direction of his conclusion while freely allowing himself side excursions to characters and incidents that catch his eye along the. Trying to reconstruct the story, you recall so many different faces (there are said to be 100 speaking roles in the movie) and locations that you realize a world has been created.
In the more modern version, a chauffeur (Belmondo) is wrongly accused of the death of his aristocratic employer, who committed suicide. He is imprisoned, and while his family starves and his wife is driven to prostitution, the chauffeur attempts to escape in a series of heartbreaking scenes, including one in which he swims an underwater passage and climbs a well, only to have to make. The chauffeur's son, roger Fortin, grows up to be a boxer, becomes the French champion, and later drives his own moving van. Meanwhile, we meet the zimans, a paris lawyer and his ballerina wife, who are married in the 1930s and linger too long in France before trying, as Jews, to escape the nazi occupation. Eventually they are in the cab of Fortin's moving van, their possessions in the back, and Ziman has persuaded the former boxer to drive them to the Swiss border by promising to read Les Miserables to him. (Fortin cannot read, but once saw a film version of the story, and loves.) Fortin is not, when we meet him, anything more than a former boxer who drives a moving van. But he has a vivid imagination and is able to see himself as jean Valjean, essay and soon we do, too, because lelouch intercuts scenes from the historical novel, also using Belmondo.
"Les Miserables" is a film about such a book and reader and, because it is long and sprawling like victor Hugo's 1862 novel, is about many other things as well. It contains scenes drawn from the novel, modern scenes that parallel the novel, and scenes which, strictly speaking, have nothing to do with the novel, including a great deal of material about the nazi occupation of France and the persecution of the jews. Advertisement, the movie is not an adaptation of the long-running stage musical that has its own film version announced more or less annually, so far without result. This "Les Miserables" has been written, produced and directed. Claude lelouch, who uses the legendary, jean-paul Belmondo, now 63, in several modern roles, and even that of Hugo's hero jean Valjean. Because the settings behind each paper story are so different, belmondo doesn't resort to makeup tricks to change character, but simply portrays them, somehow projecting their different personalities onto his famously elastic face. The result is a work that gives meaning to the word "epic." Shot in generous widescreen and running for almost three hours, the movie is a universe with room to move around. It begins in 1900 with a story loosely inspired by hugo's Valjean, who was imprisoned for stealing a loaf of bread.
Student-led revolution had been tried and found wanting in 1968, and Trevor Nunn and John cairds production, though set in 1832, felt like a romantic tribute to a much later group of European revolutionaries — daniel Cohn-Bendit and his followers. But now, the idea of brave but potentially fatal resistance to authoritarian regimes is topical again, with the Arab Spring and opposition to President Assad in Syria. It packs much more emotional punch. I know these are times of austerity but, if necessary, beg for a ticket. Seeing a movie this terrific is a truly thrilling experience. Now watch the trailer. Review: Les Miserables, loading. Get involved with the news in your community. Books reach some readers at the very core; they influence the way their lives are lived, and the way they see themselves.
Les, miserables - film, review
Wisely, he goes to the other extreme from most fidgety, fast-cutting directors of modern musicals. He trusts the actors to excel in extended takes, often in intimate close-up, allowing them to build a performance and develop the emotional resonance of former mail tv critic Herbert Kretzmers heartfelt lyrics and Claude-michel Schonbergs glorious music. Virtually every song received an ovation at the world premiere, and rightly. Highlights include Eddie redmaynes beautiful tenor rendition of Empty Chairs And Empty tables, and Anne hathaways raw, astonishingly moving version of i dreamed a dream. But there isnt a dud song or performance in the film.
Jackman manages the vocally and emotionally challenging role of Valjean with such power and integrity that even Daniel day-lewis as Abraham Lincoln may find it hard to beat him to best Actor at the Academy Awards. Zeal: revolutionaries man the barricades in the dramatic and gripping film adaptation of Les Miserables. Though the least powerful singer, Crowe does an impressive job of humanising javert so that he becomes not a melodramatic villain, but a rounded human capable of redemption. The two scenes where he sings about his feelings are staged by hooper, with high intelligence, as mirror images of each other. The very mixed reviews for the film will pollution come as no surprise to those who remember that the rscs original stage production received even more mixed notices in 1985. Underlying the antagonistic reviews then was some old-fashioned cultural snobbery about that the rsc should be devoting itself to high art rather than populist musicals and a feeling that Les Mis was a fusty period piece with little relevance to the present day. I saw the stage show in previews and remember feeling that it did seem a bit old-fashioned.
Hoopers brave choice is not to pre-record his singers, but to record them as they sing on set. This adds hugely to the emotional intensity of the singing. Obsession: Russell Crowe manages to humanise javert so he is not just a melodramatic villain. The film does a stunning job of cramming Hugos novel into just two-and-a-half hours. The original stage version, which ran to three-and-a-half hours, brought out the emotional highlights of the book but still felt rushed. Somehow, william Nicholson has made it leaner and speedier, without sacrificing anything important.
Hooper was a brave choice to direct. His first two films, the Brian Clough biopic The damned United and the Oscar-winning The kings Speech were excellent, but offered few clues that he could direct anything on an epic scale. Ably supported by casting director Nina gold and a tremendous crew at Pinewood Studios, he succeeds magnificently, and makes marvellous use of cinemas two greatest assets over any other art form: the huge panorama — used with special brilliance in the dream finale — and. The piece has much grittier documentary realism than i expected, but it also makes room for imaginative cinematography, sets, costumes and make-up, all of which i expect to see reaping their just rewards at awards ceremonies. The costumes and make-up for the villainous Thenardiers are a particular triumph. But it is hooper who deserves to attract rave reviews.
Review, roundup: les, miserables - march 24, 2014
Inspired by the gift of church silver from a bishop from whom he was stealing (a lovely cameo from Colm Wilkinson, who played best Valjean in the original London production valjean becomes a factory owner and mayor of a french town. He also becomes surrogate father to cosette (Isabelle Allen the orphaned daughter of Fantine (Anne hathaway one of Valjeans factory workers who falls on hard times and turns to prostitution. Pursued by the implacable javert, valjean flees to paris, where — years later — the now grown Cosette (Amanda seyfried) falls in love with a revolutionary student called Marius (Eddie redmayne) just before he helps man the barricades against the repressive french government of 1832. Dramatic: Hugh Jackman pictured with Anne hathaway who plays Fantine, a poor mother driven to prostitution, in a scene of the film. Comic relief throughout is provided by the Thenardiers (Sacha baron Cohen and Helena bonham Carter, both hilarious). These dishonest innkeepers mistreat the young Cosette as child labour, and then take their enthusiastic brand of thieving to paris where their beautiful daughter Eponine (Samantha barks) falls unrequitedly in love with Mariuss student revolutionary. This is a revolutionary musical father's in more ways than one. Director Tom hoopers stylistic masterstroke is to borrow a technique used previously in Peter Bogdanovichs catastrophic Cole porter musical At Long Last love.
Its guaranteed, despite its title, to raise your spirits as well as make you cry. Superbly directed, brilliantly acted and sung with unprecedented emotional depth, this is a magnificent tribute to working Title and Cameron Mackintosh, who produced. It isnt just the most ambitious British film of all time, its quite possibly the best. Scroll down to watch the trailer. All star cast: Isabelle Allen pictured as a young Cosette being carried in the arms of Hugh Jackman playing jean Valjean in Les Miserables. Victor Hugos classic story is about a prisoner, jean Valjean (Hugh Jackman consumed by hatred after serving 20 years in prison for a pitifully girlfriend minor offence — stealing a loaf of bread to feed his sisters starving child. He breaks his parole and is pursued by a remarkably determined lawman, javert (Russell Crowe who believes no criminal can ever reform. Yet reform Valjean does.
a strong possibility i may be among them. 'les Misérables opens on January. Buy tickets to les Miserables the musical from Telegraph Box Office, follow Telegraph Film on Twitter. Truly revolutionary and visually stunning, les Miserables isn't just the most ambitious British film ever - it may be the best. Published: 01:25 bst, updated: 12:38 bst, les miserables (12a verdict: A masterpiece, rating: They dreamed a dream, and now its come true. Its been a long time coming — 27 years since les Miserables opened in London — but its worth the wait. This is a wonderful movie, an all-time-great musical.
Ill say it again: this will be the clip they show before she wins her Oscar. Anne hathaway as Fantine, while write hathaway has been rightly singled out, the entire cast is a joy: even Crowe, who generally lands within spitting distance of the note he is aiming. Samantha barks as Éponine and young Daniel Huttlestone as gavroche are two welcome imports from the west End production, and Bertie carvel is a hoot as a seamy boulevardier. And then there is Redmayne, who swoops on screen in a flash of lips and cheekbones and breaks every heart in the cinema. During One day more, when he sings my place is here, i fight with you, the line runs you through like a rada-polished bayonet. Eddie redmayne and Amanda seyfried. Why does this work? Modern cinemagoers have no more common ground with Mariuss rather glamorised plight than they do with, say, iron Man or the Incredible hulk, and yet I found myself sobbing along with the rest of the auditorium. This reaction has been pooh-poohed by some American critics, who made the mistake of trying to engage with the film as drama.
Les, miserables, soundtrack - lyrics (Description)
France, 1815: louis xviii is restored to power and the revolution is a distant memory. Jackman is jean Valjean, a chain gang slave who skips parole to reinvent himself as mayor of Montreuil. He is thereby caught up in the tragic story of Fantine (Anne hathaway a seamstress who falls on hard times, and her angelic daughter Cosette (Isabelle Allen). Meanwhile, the iron-willed lawman javert (Russell Crowe) vows to bring Valjean to justice. History surges towards the paris Uprising of 1832, and the ever-swelling cast of characters Amanda seyfried as the adult Cosette, eddie redmayne as Marius, her sweetheart plan on the barricades, sacha baron Cohen and Helena bonham Carter as a pair of villainous publicans hang on, and. Hugh Jackman as jean Valjean, hoopers masterstroke was to make his cast sing live on set, rather than lip-sync to prerecorded studio tracks. This is not quite the innovation it has been sold as (live singing in musicals was standard practice in Hollywood until the mid-1930s but in a film where almost all of the dialogue is set to music, it gives those words a raw, dramatic vitality. The payoff is never greater than in Hathaways half-sung, half-sobbed performance of i dreamed a dream, which hooper captures in a single, mesmeric four and a half-minute take. The nod to maria falconettis brimming eyes and bottomless pathos in The passion of joan of Arc (1928) is howlingly immodest, and yet Hathaway lives up.