MEOW!
{SIDE-NOTE: I've already reviewed Les Miserables during opening weekend, so my opinion is pretty much the same as what I have written here, although I will admit a few of my critiques regarding certain aspects of this film have changed upon second viewing. With that said, enjoy!}
Nostalgic Insights: I first got introduced to feeling (le) miserable when watching the 25th Anniversary Concert, and I remember loving it quite a deal; the music, performances, set design and thematic elements were all chill-inducing in the comfort of a warm living room. That got me hyped up for the film version of Les Miserables, and when I first saw it, I felt severely underwhelmed. Still, I didn't hate it. The performances by everyone involved were admirable, and it was still the same outstanding music that I heard from the 25th Anniversary Concert. The problems I had before, however, were further emphasized when watching the film, such as the underdeveloped relationship between Jean Valjean and Cosette. Also, Tom Hooper's direction was questionable in certain areas, and I hope those working on the surround sound effects for the DVD/Blu-Ray have learned their lessons when watching it in a movie theater. Gosh, TURN IT UP!
So, what do I think of it upon second glance?
Half-A Second Review: Well...
Critical Insights: Some positives still remain in tact. I find all of the performances to be admirable, with some even approaching towards greatness. Hugh Jackman pulls off a terrific performance as Jean Valjean, although he could have perfected "Bring Him Home" by singing in a different key. If he can sing that same kind of melody in the "Epilogue," why not there as well? Anne Hathaway gives a beautiful performance as Fantine, and she presents "I Dreamed a Dream" as if it was her last dying wish, which is an appropriate interpretation. And as much as Russell Crowe is getting flack for his portrayal as Javert, I thought his rendition of "Stars" captured the epic beauty that is needed for a film like this (Though that could be the orchestrations that do complement his voice).
Eddie Redmayne has a nice voice and does a fine job portraying Marius, even if he needs to control his head when singing certain songs like "Empty Chairs at Empty Tables." Amanda Seyfried is beautiful as Cosette, that is, for the amount of screen-time she has, but I'll get to that in a bit. Samantha Barks, who was also Eponine in the 25th Anniversary Concert version, is wonderful singing "On My Own" on her own in the rain, although I have to admit that "A Little Fall of Rain" left me emotionally cold. Though, of course, I'll get to the cause of that in a bit as well. Aaron Tveit does a great job getting people to hear him sing, and the two child actors, Daniel Huttlestone as Gavroche and Isabelle Allen as Young Cosette, fit into their roles perfectly. The show-stealers, however, are Helena Bonham Carter and Sacha Baron Cohen as the Thenardiers; they experiment the approach to live singing with brilliant comic timing and energy. But still, POOR KITTY! Hope his tail is okay.
Hooper's experimentation with live-singing should also be commended, and it's a risk that makes sense. For a musical like Les Miserables, you cannot fake emotion, as this is a tale that is sung straight from the heart. There are distracting elements which keep it away from indulging in all that emotion, however. One is that the camera-work is all over the place. At one point, it's beautifully shot and has the feel of a genuine cinematic experience. At another, such as "Valjean's Soliloquy," the camera is so ridiculously close to Jackman's face that it's impossible to feel any emotion in the slightest. And getting back to "A Little Fall of Rain," and this is sort of a spoiler to those who haven't seen it yet, I couldn't feel anything for poor Eponine because how it was editied wouldn't allow me to see how she got shot. One time the editing does succeed is during "One Day More." It's not an easy number to pull off on film, and while the editing isn't as perfect as, say, when the team at ThatGuyWithTheGlasses.com performed it (It actually is), it's solid film-making. Overall, though, the cinematography is a mixed bag.
http://www.youtube.com/watch?v=FdQ7xxSL0ks
(Copy and Paste time!)
(Copy and Paste time!)
Also, the relationships between all of the characters in this film are severely underdeveloped. You could write a new song for the film and still not correctly develop the relationship between Jean Valjean and Cosette, and the scenes they do have together, with a couple of exceptions, are so awkwardly paced and written that I would assume that they were a married couple instead. When Jean Valjean first approaches Young Cosette, I'd expected him to sing "Hello, Little Girl" from Into the Woods, if you know what I mean. Then there's also that one awkward lyric, such as "I'll be mother AND father to you." Uh...I don't think that was written in the musical when it first came out. But NOTHING can compare to when Valjean appears to Cosette in her room during "In My Life" with his OPEN HAIRY CHEST? I mean, good lord, SHE'S YOUR ADOPTED DAUGHTER! Were you "having a little trouble with the fireplace" like poor Judge Frollo? Gooooood grief! If both of you were in an elevator, it would be wrong on so many levels (I had to). Now I will say that the "Epilogue" is where I FINALLY felt that they were having a genuine father-and-adopted daughter moment, and when Cosette cries, I could feel the intensely raw emotion coming from her broken heart.
But here I go again: every story arc happened because Valjean stole a LOAF OF BREAD?? I feel like Aladdin.
Les Miserables could have been something for the ages, and instead I end up feeling like Aladdin. There's an honestly beautiful score here, and there are admirable--sometimes brilliant---performances from everyone in the ensemble. However, the relationships between the characters are either silly or severely underdeveloped, and Tom Hooper's direction is all over the streets of France. Or Britain. Or...Connecticut. There are accents everywhere in this film. I guess I still recommend it with reservations, and there are people who will absolutely adore it, but...REALLY? A LOAF OF BREAD??
Out of five confused Aladdins, I give Les Miserables...
Until next time,
THE LITTLE MERMAID
and MEOW, of course!
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