Movie Review: Les Miserables Perfection in its Imperfections

With an epic tale carrying a built-in audience- (and critic-) base of 60+ million, Les Miserables is an epic-size gamble. A gamble that has obviously paid off already according to the dollar followers. Is it Oscar-caliber? Certainly director Tom Hooper (The King's Speech) has got the chatterboxes going...

And the actors?

So often, particularly in movies with fun-to-love-or-hate side characters, there is a runaway, steal-the-film actor or actors. Case in point: Inglorious Basterds (See review here) when a supporting role's actor took the audience's adoration (and Oscar) away from the golden boy of Hollywood. No surprise runaway in this film. The casting, with the exception of Russell Crowe, is chosen well.

Who to watch for award wins? Anne Hathaway, Hugh Jackman and Helena Bonham-Carter, along with Hooper and the picture itself, and the costume and set crews. Perhaps Sacha Baron Cohen, but I would be surprised if Crowe carries off a trophy for this one. Throughout the musical number, of which is the majority of Javert's onscreen time, Crowe seems uncomfortable with singing.

Hooper's non glitzy style has served him well in what could have been an over-polished caricature of the Victor Hugo work. When the 1862 book came out, there was a definite look at the gritty underbelly of the French culture. To have prettied it up for the film would have been morally wrong.

Hooper maximizes the grime and suffering to bring the viewer into the horrific happenstance of Jean Valjean (Jackman) a prisoner for stealing bread to feed his family. Upon serving the 19 years in a prison no one would ever want to behold, Valjean turns his life around, becoming a changed man (along with a changed name) creating a successful life. Unfortunately, he breaks parole in doing so and now is ever watchful for the by-the-book guard-turned Inspector Javert (Crowe)

Jackman's stage background prepares him well for this musical, showcasing his talents of live performances blending well with his movie background. Seamless and believable, we suffer along with Valjean as he trembles in the cold, fears of recapture and feels remorse for his part in the downfall of Fantine (Hathaway).

Fantine's illegitimate, secret child, Cosette, (Amanda Seyfried), is disclosed forcing the penniless and homeless mother to live in the gutters of French society. Selling her hair, teeth and body for money to pay for her daughter's caretakers, Hathaway's remarkable, "I Dreamed a Dream" brought down the house, and brought out the tissues. The closeup of Fantine's face as she weeps her way through the song shares her inner loss of innocence and tortured soul.

When Valjean reaches her deathbed, Fantine dies knowing he will find Cosette, and raise the child as his own, away from the prostitution and degrading circumstances which caused her own early death.

Apart from his labored singing, Crowe is perfect as the unrelenting tracker, Javert's full fury and wrath creating sparks (and spittle) during his musical numbers. Crowe's acting ability is brought to a new level matching against Jackman.
One of the best decisions by Hooper ~ which brings this entire piece of work to the very core of the audience ~ is to have the actors sing live rather than lip sync and dub in later. The performers are much more believable with their voices taxed by the cold, emotions of the moment and the missing safety net, proving reality cannot be faked.

I cannot fathom anyone who could have lightened the mood more than Bonham-Carter with Cohen for the caretakers' scenes. She and Cohen as the scruffy, immoral innkeepers, Thenardiers, bring the audience to tears with laughter, as much as Fantine's meltdown brought the audience to tears with pity.
"Master of the House" is a raucous, filthy good time which describes the couple as the worthless lot they truly are with a tongue-in-cheek romp of a tune.

Between the close ups, the live singing, the plot and the quality of performers used, Hooper has proven once again that there is more than one way to win an Oscar.

Bottom Line: The imperfections are exactly what makes Tom Hooper's "Les Miserables" absolutely perfect.

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Elizabeth J. Musgrave is a syndicated fine-living, travel columnist, freelance writer and photographer, and performing arts and restaurant critic for Gotta Go. Read Infused, her spirits, wine & beer lifestyle column, at GottaGo.us and FoodDigital.com and catch her as Indy’s Entertainment Adviser on 93 WIBC. Gotta Go is published on www.Gottago.us, www.BroadwayWorld.com, an in print. Follow her on Twitter @GottaGo, LinkedIn and Facebook.

Robin Hood

Oscar winner Russell Crowe teams up once again with director Ridley Scott (Gladiator) for this prequel version of the centuries-old fable of outlaw, Robin Hood. Knowing the talent of Crowe, I looked forward to this film.

With so much controversy surrounding the validity of the man known as Robin Hood, the adventures and English folklore have grown and evolved over the centuries. While historians argue amongst themselves as to whether there was such a man and what his true identity is, moviegoers never tire of each new version of the tale.

Although no one I know has spoken of the elephant in the room, this critic shall whisper the thought which occurred almost immediately upon realizing the direction of the film. If this epic film is staged as a prequel to the familiar movies based on the famed archer, why is a man 46 years old playing the character? Shouldn’t a younger man by a couple of decades be in that position? Cate Blanchett, at 41 years of age, is also unbelievable in that respect as Lady Marian.

All in all, considering all we moviegoers have been willing to forgive over the years, the age factor can be overlooked as well, I suppose. Especially when given the fact that this film is rather enjoyable and different than its predecessors. Gritty, gray in color and harsh, Hood stands up to the worth-watching yardstick. This is fortunate since the fact that it is set as prequel means that there will most likely be a sequel or two.

Given that Crowe is a destination actor, and Mark Strong is entrenching himself as the best villain since Alan Rickman (Die Hard) viewers will undoubtedly enjoy the action scenes, scenery and medieval castles. With mixed reviews from critics and the public, the movie will most likely do well at the box office, with opening weekend earnings reported at $32 million, twice that of chick-flick Letters to Juliet.

Bottom Line: Best viewed on the big screen, IMAX if possible, Robin Hood is not Crowe’s best work, but even his less-than-fabulous movies are worthy of the ticket price.

Elizabeth J. Musgrave is a syndicated columnist, theater critic, and travel writer. You can now follow Elizabeth on facebook or Twitter and catch her as Indy's Arts & Entertainment Adviser on 93 WIBC's Saturday Morning News Show, giving a quick Gotta Go list of things to do in the Indy area, including restaurants, festivals, events, theater and films.

For comments and questions e-mail her at Elizabeth@gottago.us.

--This post was originally published under "Gotta Go" in the West Side Community News in Indianapolis, and the West Indianapolis Community News.