Les Miserables (2012) Other movies recommended for you
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Plot: Jean Valjean, known as Prisoner 24601, is released from prison and breaks parole to create a new life for himself while evading the grip of the persistent Inspector Javert. Set in post-revolutionary France, the story reaches resolution against the background of the June Rebellion. Written by… Runtime: 158 min Release Date: 25 Dec 2012
Breathtaking - A Musical with Heart (by antesdespues)
I went to an awards screening of Les Miserables and left the cinema speechless. Tom Hooper's direction and the cinematography, costumes, art design and editing are nothing short of genius.Hooper's idea to have the actors sing live really brings a deeper emotion to the film not seen in other movie musicals. Hugh Jackman is absolutely incredible as Jean Valjean and carries the film with spectacular grace. Anne Hathaway is magnificent in her fleeting role as Fantine - the film's sequence in which she goes on a downward spiral is one of the it's best moments, and her ABSOLUTELY <more>
INCREDIBLE HEARTFELT rendition of 'I Dreamed A Dream' will win her the Oscar by itself.Also, a great supporting turn from newcomer Samantha Barks as the heartbroken Eponine look out for her waist - it's absolutely tiny! , who is sure to be shot into stardom. Eddie Redmayne, Russell Crowe and Aaron Tveit are also good, and there's some great comedy relief from Helena Bonham Carter and Sacha Baron Cohen.It will leave you laughing, crying, and feeling inspired. A great watch, sure to win some major awards this year! 10/10!
This film is amazing. Absolutely incredible. I don't understand what people are saying about pacing issues, I thought it flowed beautifully. The changes made worked very well. And I didn't think there was any weak link in the cast. I honestly loved Russell as Javert. He wasn't traditional by any means, but what he did worked. The cgi was not the best, but it kind of created this fantastical other world while still being realistic and grounded. So many of the acting choices were brilliant and subtle. For example Jackman ever so slightly altered his voice with his characters aging, <more>
which I thought was brilliant. There is no negative thing to say about this movie. However, I do see why a critic may not like it. It's not a critic movie. There isn't a lot of impressive violence, crazy camera shots, etc. the things critics seem to love. It's more grounded in the performances and the story, which it tells extremely well. The only thing I can point out because I saw it with my boyfriend who knows nothing about the story there are two or three slightly confusing plots for those who aren't familiar with Les Mis. But they are either explained later on or not important enough to dwell on. Anyways, that's my rant. Needless to say I will be seeing it many many times and cannot wait for the DVD so I can own it and watch it even more.
Magnificent Live-Production Captured On Film! (by Eric-Low)
What an innovative film!Contrary to one of the reviews which canned everything about the movie from the plot to the actors' singing voices to camera angles by someone who, to me, is obviously not familiar with the live theater productions of this musical nor it appears the he has ever been to any , I find this movie version is a a state-of-the-art capture of one the world's great musicals for the cinema screens!The live singing is superb, showing the fragility and flaws of every performer ... and that's what a live-performance is all about! This movie captured a live theater <more>
production on screen for all cinema goers who never had the chance to enjoy a live theater production!Kudos to everyone involved! A must-see for all! And a must-buy for those who wish to have a copy of this masterpiece for a keepsake!
The guiding ethic of any film adaptation of a legendary source must be: "Change as little as possible." Those in charge of Les Miz knew precisely what they were working with. A few songs are shortened, a handful of lines altered, and a few scenarios condensed or adapted to their original literary form, but the whole remains gloriously and satisfyingly intact.The Work Song is set to the image of a hundred convicts battling a stormy sea to pull a listing ship into dry dock—and only here does the film's live-recording ethic fall short, as the music and voices lack the power to <more>
match the imagery, seemingly washed out by the sea noise, where the live musical would normally captivate from the first note.Neither of them theatrical belters, Jackman and Crowe's performances feel subdued in the opening scene. But the film finds its gravitas the instant Colm Wilkinson appears as the Bishop of Digne, and from that instant, the next two and a half hours are nothing less than the repeated sliding of the viewer's soul up and down a finely-honed blade.The ability to take close-ups gives the film an intimacy that is unattainable on a Broadway stage, and power numbers are sometimes reduced to a chilling whisper. Anne Hathaway destroys herself to bring Fantine to life, and her incredible, personal pain washes in waves from the screen. The tooth removal, normally excised from the musical, is even back from the book—though modified in location. Confrontation is then viscerally set as a full-on close-quarters sword fight.Film also allows a depth of scale that challenges the stage. The transition to At the End of the Day is a grim and powerful scramble through the slums of Paris, shaking the screen with the palpable rage of a nation. Look Down is another tour de force, while Do You Hear the People Sing emerges from a quiet, elegiac call to arms that organically overtakes General Lamarque's funeral procession.Samantha Barks' Éponine lights up in her every interaction with Marius, and shots of her in the background of A Heart Full of Love are soul-rending. But she suffers just enough tiny cuts that A Little Fall of Rain is not quite as arresting as it should be, and the constant close-ups amputate the power of a scene that should captivate not only through its intimacy, but through the inactivity that washes across the entirety of a once-violent stage.Russel Crowe's soft-voiced Javert takes some getting used to, and while it works more often than one might expect, he sometimes seems to be singing with a sock in his mouth—most notably during One Day More, where he seems to have been mixed in at a different volume level from the rest of the cast. Yet the cinematography of Stars is simple yet stunning, and Javert's Suicide suffers nothing in this interpretation.M. Thénardier endures a few cuts most notably the truncation of Dog Eats Dog , but Sacha Baron Cohen steals enough asides and chews enough scenery that his part hardly feels reduced.The background has been filled in with elements from the novel, and those who have read Hugo's epic will appreciate nods to Fauchelevent and the Petit-Picpus convent, Gavroche's elephant-home, Marius' grandfather, and the tavern behind the barricade. There is even a quick cut to Gavroche when Éponine is shot, winking at their normally undisclosed sibling relationship.Even the finale remains perfectly and satisfyingly intact. The only challenge with a film that so precisely parallels its stage inspiration is resisting the necessity to deliver a standing ovation once the final note has been sung. If only they had found a way to incorporate a curtain call.
A superb film version of the beloved musical (by maestro-20)
If you don't like musicals or are not a fan of the through-sung style, skip this movie. I will only irritate you much like bombastic action films torture me .But if you're a fan of Les Miserables or musicals in general, then you're in for a treat.Many people have criticized Tom Hooper's direction. For me, I just think these people have no idea what Hooper is doing, and do not realize the effects of his work with the help of Danny Cohen's marvelous cinematography . The Dutch angles work very well, especially during the Lovely Ladies sequences -- Hooper skillfully created <more>
a surrealistic, nightmarish Paris for Fantine and the audience , making us feel queasy and uncomfortable and horrified, in some ways, for Fantine. We have to realize that this is not a videotaped version of the stage play or concert. This is a movie. Hooper said that he wanted to create an extreme/heightened realism that is on the verge of being surrealistic. I for one applaud his choice and I think it works beautifully for the movie.Same with the close-ups. They created the kind of intimacy you won't get on stage, and also provided the opportunities for the actors to do their work. The result is amazingly personal, intense. Obviously it works better for some actors than others that's why we're thinking of giving Anne Hathaway the Oscar, not Amanda Seyfried , but over all, it's a great cinematic choice -- together with live recording... it's emotionally powerful.I do have some gripes: certain hand-held camera shots could have been avoided or stabilized -- there is really no need for them. The barricade scenes can be somewhat chaotic and rushed. Unfortunately Hooper has to work in the confine of the musical structure, and the story is already almost 3 hours long. Also, they had to cut or shorten some songs to fit the time frame - to those who have seen the show 30 times, it could be unsettling.The performances are excellent. Hugh Jackman carries most of the movie with dignity and amazing versatility. He may not be the best singer in the world to play Valjean, but he IS Valjean on screen -- his voice is characterized to fit Valjean perfectly. His "What Have I Done" is a revelation of what his song-and-dance man who is best known for Wolverine can do.Anne Hathaway deserves all the accolades she is getting. Her "I Dream a Dream" will become the de facto performance for those who will play Fantine in the future.Eddie Redmayne is a surprise -- I know the actor can act, but I had no idea that he could sing so well. And that he could sing and act at the same time with such grace and charm. It's not an easy thing to accomplish.Samantha Barks and Aaron Tveit have done Les Miserables on stage before, and they are excellent in the film. Many stage actors can't transition to the screen, but these two have succeeded with a lot hard work, no doubt .Amanda Seyfried is one of the weakest links in the movie. She is, of course, lovely as the adult Cosette Isabelle Allen is excellent as young Cosette , even though the part is underwritten in the film or on stage . Her singing voice is okay, but not as strong as expected, and I find her performance somewhat one dimensional. But she and Redmayne have great chemistry together, and that's a good thing.Russell Crowe also is the weak link. He is a good actor and I think he does his best with this role. But his rock-opera voice is jarringly different from the rest and he just stands out like a sore thumb. However, in the course of the movie he grew on me. In his final scenes I can see the great acting it's all in the eyes, people! . So while I can't say he's the best Javert ever, I'll give him a pass.The supporting cast and background actors are all excellent.The production is rich and wonderful with great sets, great cinematography, great costumes. Is it perfect? No. I haven't seen one single film this year that is "perfect." I don't think that exists. At the end of the day pun intended , Les Miserables is all about the music, the characters, and the emotions, and this film delivers. I expect many award nominations for this film.
Amazing.... Les Misérables is a powerful story of redemption, grace and love. I recommend the book abridged... Hugo does go on as well as the 1998 version Liam Neeson is a great Valjean . I could not say enough good things about this production. The performers were excellent, the sets and effects were great and the direction kept things moving. If this were on the stage Anne Hathaway's 'I Dreamed a Dream' would have stopped the show... I wanted to stand a cheer. Hugh Jackman deftly guided us through Valjeans anger, anguish, despair, love and honor. Tom Hoopers decision to have <more>
the actors sing on set instead of miming a recording made the experience more emotional.
Why We Pay to Watch Others Suffer (by Danusha_Goska)
Les Miserables is very old fashioned entertainment. It's a series of crescendo moments with no build-up, no backstory, no pause. It's like eating just the topping of the pecan pie, and not bothering with the crust or filling. We were just ten minutes into the movie when I had to look at my watch and ask, okay, how long can they keep this up? Climax after climax, plot twist after plot twist, tearjerking scene after tearjerking scene. Oceans! Mountains! Punishment! Suffering! Religion! Redemption! Will there be a break for lunch? Will we be able to catch our breath? If you can watch <more>
this film without crying, I don't want to know you. The woman behind me was on the edge of her seat, not just because I smell good. The audience at the 10:40 a.m. matinée – the theater was packed – applauded at the end, and was very slow to leave the theater, even as the closing credits rolled. Typical of big, fat, nineteenth-century novels, there are numerous implausible coincidences that drive the plot. These coincidences took me out of the movie, but that was a good thing. The human suffering on screen was overwhelming: suicide, enslavement, exploitation of living humans' body parts, prostitution, disease, spite, malice, child abuse, starvation, sadism, a dying man escaping through very graphic sewerage. I did have to repeat to myself, "This is only a movie" even as tears streamed down my cheeks. Jean Valjean is imprisoned for stealing a loaf of bread to feed his sister's starving children. He slaves for twenty years. He hauls a massive, capsized sailing ship. The scene does look like obviously fake CGI, but that doesn't make it any less gut wrenching. The workers sing, "You'll always be a slave. You are standing in your grave." They are the men we see in Sebastiao Salgado photographs of Third World laborers. They are Ilya Repin's "Barge Haulers on the Volga." Valjean's nemesis is the crazily obsessive policeman, Javert. They spar throughout the film, as Valjean's fate rises and falls and rises and falls and rises you get the idea. A story this big, this broad, and this implausible requires one hundred percent commitment from the performers. Hugh Jackman as Jean Valjean is superb. He believes. He emotes. He is as big as the story itself. Jackman is the heart and soul of "Les Miserables." I loved him. Anne Hathaway, Eddie Redmayne, Samantha Barks, Helena Bonham Carter, Sacha Baron Cohen – they all had me convinced. Russell Crowe was a surprising disappointment. He's a brilliant actor and I kept waiting for him to bring some fire, some ice, some power, some insight to Javert, the obsessive and punitive policeman who mercilessly hounds Jean Valjean. I wanted a memorable moment that would make me feel that Crowe's performance brought Javert to intimate life for me. That moment did not arrive. I wondered while watching this movie whether it will be embraced by the political left or the political right. It is a deeply and unashamedly Christian film. A Catholic priest, emulating Jesus, is the catalyst. Valjean spends the rest of the film working to live up to the priest's Biblical example. "Les Miserable" is leftist in that it depicts the poor rising up, but then the poor fail their own putative saviors, and allow them to be massacred, alone. Javert, representing law and order, is a monster. The film's brief glimpse of heaven is like some limousine liberal's fantasy. I think "Les Miserables" is as popular as it is for the same reason that Cinderella is so popular. When "Les Miserable" was a stage play, tickets were a very expensive and difficult to acquire luxury. It is ironic that a play about the wretched of the earth would be such a luxury entertainment. Why do we enjoy watching people much poorer and more desperate than we will ever be? Why do we pay for the privilege? Because we all see ourselves in Cinderella, in Jean Valjean, no matter how lucky we are. I'll certainly never stand in cold sea water with iron shackles around my wrists and neck, overseen by a cold sadist like Javert. But, along with millions of others, I saw my own struggles in Valjean, and thanked God that I didn't have it as bad as he. If Jean Valjean can go on, I can, too! I wish the songs had been a tad better. There are a couple of good ones, "I dreamed a dream" and "Do you hear the people sing?" All the actors sing very well. Russell Crowe and Hugh Jackman sing especially well.
NEVER MIX Hollywood ACTORS WITH THEATRICAL STAGE PERFORMERS...IT WILL ONLY SHOW HOW BAD YOU ARE IN ACTING AND SINGING Anne Hathaway your an exception and Meryl Streep, Mamma Mia "Les Miserables" would have been a fantastic film. One of the best I've seen in awhile BUT when you put A-list celebrities to sing, and I know the reason why, for box office draw, then you just killed a masterpiece. Hugh Jackman and Amanda Seyfried are passable and I can live with but of course I would rather have Simon Bowman play Jean Valjean and Emily Bull or someone else play Cossette but Russell <more>
Crowe? Tom Hooper were you drunk when you chose Russell Crowe? The guy can't sing every time he sings I want to go to the bathroom or do some meditating and wish I was in another planet! Everyone else was fantastic, Samantha Barks as Eponine was awesome of course she played Eponine in the London production . Anne Hathaway is mesmerizing as Fantine now I know why Hugh Jackman lobbied for her. Her performance as Fantine deserves an Oscar nomination and I hope she wins. Eddie Redmayne as Marius is amazing and the list goes on. Overall an amazing film! I would definitely watch it again and when the DVD or Blu- Ray comes out I will definitely get a copy and "WHEN RUSSELL CROWE COMES OUT TO SING THEN ITS TIME FOR ME TO GO THE BATHROOM or MEDITATE AND BE IN ANOTHER PLANET" Please just be the Gladiator and make sequels part 2, part 3, part 4 I don't care just stay away from musicals and by the way I don't even own a copy of any of your movies hah! Here is my Christmas wish... Director Tom Hooper when you release the DVD or Blu-ray I'm sure it will be a Special Edition release can you please take out Russell Crowe and use someone else to play Javert, I sugggest Hans-Peter Janssens from the London production and THAT WOULD TRULY BE A SPECIAL EDITION COPY :
I read a lot of reviews so I expected Les Miserables to fall short of expectations, but I really enjoyed the film version. Better yet, it captured my imagination where I wanted to read more on the making of it, casting choices, etc. A lot of critics are harping on the close ups, but why else would one adapt a theatrical production into a movie unless you wanted to utilize the advantages of cinema? No, it doesn't dwell on sweeping vistas, but vistas are there as throwaways. Probably because they're CGI and look fake anyway, Mr. Hooper chose not to dwell on them. What I appreciated was <more>
the intimacy of the songs and the emotional honesty in their delivery.Another critique I read was the film revels in ugliness. Um. You mean like the novel? It's increasingly irritating to read film criticism from people who have neither interest or experience with the subject matter. As a filmed musical version of Les Miserables, it's amazingly good. I slogged through the book back in the day, right after I bought the London Cast Soundtrack of the play and grim, harsh reality is what Victor Hugo was going for. That, and endless explorations on what it is to rebel. To the film's credit, Fantine doesn't get her two front teeth pulled out. That would've been hard to take, watching her sing "I Dreamed a Dream" with gaps in her grill.Overall, I agreed with Director Tom Hooper's choices. I always thought a film version of "I Dreamed A Dream" would have flashbacks of a sunny country side and any other images about idyllic love, instead Mr. Hooper stays close on Anne Hathaway's beautiful, heartfelt rendition of the song and it nearly moved me to tears. I read a number of reviews criticizing Russell Crowe's singing and while he may not be Pavarotti, he did what any actor has to do if they don't have the voice of an angel: He sells the songs. Of all the Javerts I've seen captured on film, Anthony Perkins, Geoffrey Rush, Mr. Crowe I believed his the most. Geoffrey Rush seemed like he should just take Valjean out for a beer. Javert is a strange character. You have to believe that he's so obsessed with Justice and the law that he'll take his own life when his meaning of it unravels. Russell Crowe does all the work in his eyes not in his voice. I thought he was amazingly good. And I appreciated Tom Hooper's choice of having Javert flirting with death while he sings Stars, foreshadowing the way he will meet his demise.Meanwhile, Hugh Jackman did solid work as Jean Valjean, but he unfortunately, fell short on "Bring Him Home," which of course is Valjean's and possibly the play's showstopper, he got a little pitchy and cracky and didn't bring the tears. For that reason I give the film 8 instead of 10 stars.But aside from that, it's a stirring, rousing, clap-at-the-end-of nearly-every scene Film musical.