the movies

the movies

I've seen six film adaptations of Les Misérables. I own four. I like none. Go figure.

The major trend in Mizzy-movie making is to change the central theme of the story. Most adapters misinterpret Hugo's motive in writing the novel. They assume the central conflict in Les Misérables is justice vs. mercy---Javert vs. Valjean. In fact, the central conflict is lower-class vs. upper-class---Valjean, Fantine, Thénardier, Marius, Enjolras vs. the tyrannical French government in all its forms but that of the Glorious Republic . (Republican government is the only answer to the miserable cries of, well, the miserable ones, according to Hugo.) That's what Hugo was writing about. It's idiotic of the filmmakers to cut Thénardier and Enjolras. Hugo did not allow Javert to drift away for five hundred pages in the middle of the story for no reason. He did it because he wanted to concentrate on the plights of characters in constant battle with society (Thénardier and Enjolras) rather than the actual representative of society (Javert).

The focus of Hugo's novel is the downtrodden---personified in Jean Valjean, of course, but also especially emphasized in the Thénardier family. One could even argue that the novel revolves around them. The misery of impoverished childhood as presented in Eponine and Young Cosette is one of the most moving aspects of the story. In the carefree, mischievous Gavroche we should see the frailty of childhood. The audience should recognize the dangers of Gavroche's future---would he, despite all his visible promise, have become only like his father if he had been allowed to live? Gavroche should not be a cute mini-mailman.

In Thénardier himself, the greatest villain of the novel (who is far more formidable and hideous than Javert), the audience of the novel is witness to utter and complete depravity---the result of a evil high-class society. Thénardier's end would have also been Valjean's and Fantine's and Cosette's if they had not each been saved—and saved by prominent members of society who defied the idea of "classes." Enjolras's battle for a Republic is also a denunciation of societal classes and a cry for equality and fraternity.

This essence of Les Misérables is the depravity of the poor, and the possibility of their redemption through love and help and, yes, REPUBLICAN government. This theme is mostly absent in the following films.

1935 March/Laughton

Availability: If you're lucky, your local video store or library will carry it. If not, it's available on Amazon.com.

Accuracy: Arguably the least accurate adaptation available.

Recommendation: HIGHLY RECOMMENDED!!

REVIEW:

Plot: Rarely have I ever laughed so hard . . .

The beginning scenes with our Monsieur Bienvenu (besides some, um, donut-dunking by our Bishop (?)) is very well-done and accurate. The rest of the film resembles Les Misérables less than a hamburger resembles a cow. Fantine's hardships are invisible. Her one trial is being fired. A few weeks after her tragic loss of employment, we view her running into the Valjean's office in hysterics, and ranting incessantly on the cruelty of Monsieur le Mayor. Then, she starts coughing violently and Valjean sends her to bed. Alas, I almost cried. *sense my dripping sarcasm* Cosette, a very healthy looking little girl, is brought to Fantine immediately, and she enjoys happiness with her mother until Fantine is "killed" by Javert. Then comes my favorite scene. The carriage chase from Montrieul-sur-Mer to Paris. Javert is grumpy and insane, Valjean is panicked, and Miss Brat Cosette is shrieking madly the entire ride. (This is the most hysterical scene in the entire film. Rent it if only to see this!)

Valjean and Cosette miraculously escape from Javert and arrive in Paris. They enter a convent, posing as good friends of M. Madeleine (whose name, of course, the nuns recognize coming from Valjean's lips, but not from the wanted section of the newspaper, I suppose). Ten years later, Valjean, upon M. Madeleine's orders, kindly bestows a large sum of money on the convent before leaving. After settling in their new home, Valjean and Cosette take a carriage ride through Luxembourg where a handsome young man named Marius is giving a speech about how unfairly convicts are treated. (!)

Cosette is greatly impressed and asks Valjean for money to donate to "the cause," once they've returned to their house. Valjean, of course, gives it to her gladly and allows her go out unescorted to a rowdy part of town where the Café Universal---Marius's headquarters---is located. Eponine, Marius's faithful and drunken secretary, is visibly upset by the appearance of the beautiful young lady whom Marius seems quite interested in. The students tease her ruthlessly about being in love with Marius and we all feel horribly sorry for the poor thing. *snort* Following this taking-the-initiative step by Cosette, the pair meet everyday in Luxembourg. (Again, Valjean allows her to go when and where she pleases, completely unattended).

Finally, the day of the riot comes. Yes, riot. This was not an insurrection. The streets were flooded with unorganized ruffians who scamper about the area of a few blocks screaming and shooting guns. Amidst this chaos, Valjean and Cosette decide to leave Paris because Valjean has seen Javert (whom Cosette knows all about) lurking around the house. Cosette reluctantly says she'll forget Marius and decides, through tears, to go with her father. Eponine pays a visit to Valjean before they leave, however, and, after having a lovely chat over some brandy, they decide to go together to save Marius.

The two get separated when Valjean leaves Eponine to save Javert. Next time Valjean runs into Eponine she is lying motionless next to the unconscious Marius. Valjean checks her pulse and, seeing that she is quite dead, picks up Marius and heads for the sewers. He takes Marius to Cosette and leaves them in a room alone. Then, he sees Javert standing in his front doorway. He tells Javert that he needs to say goodbye to Cosette; Javert allows. Valjean reenters the room and asks Marius how he is feeling; Marius replies, "Better." Here, there is a touching little speech which includes lines stolen from Valjean's deathbed scene. During this tear-jerking scene, Javert leaves Valjean's house, heads straight for the river; "Ave Maria" is playing the background during his most impressive plunge.

Valjean finally leaves Marius and Cosette, and, seeing Javert is no longer in his doorway, he runs directly to the river (where he knows Javert must be, don't ask me how). In the water, he sees Javert's stick floating quite dramatically (Ave Maria is still playing). The End. Aren't we all feeling inspired?

Character Portrayal/Acting:

Frederic March (Jean Valjean): Strangely enough, when he first came on he reminded me of Jimmy Stewart. "Now, I---I---I did not do anything wrong! All-all-all I did was try to feed my FAMILY!" I love Jimmy Stewart, but not as Jean Valjean. March was tolerable through the rest of the film, though not Valjean-like, but, hey, the rest of the movie was un-Les Miserables-like, so what does it matter?

Charles Laughton (Javert): Made me laugh every time he came on. After watching his lip quiver and seeing him nearly breaking into tears in his first scene (he was talking of his convict father), I couldn't respect him as a Javert.

Cedric Hardwicke (Bishop Bienvenue): I actually enjoyed him Even if he was not seventy-five, he did a nice job with the part. He was quite possibly the best part of the entire movie. I did have a strong urge to laugh when I saw him enjoying a donut and a cup of tea the morning after Valjean stole his silver, however.

Rochelle Hudson (Cosette): Nothing to say. She was there and she smiled a lot.

Frances Drake (Eponine): Drunk and scheming and whiney.

John Beal (Marius): Hurrah for Marius and his daring crusade to rescue all convicts from injustice.

Florence Eldridge (Fantine): Too pretty and whiney, but hey, at least she was blond.

Florence Roberts (Toussaint): She didn't stutter.

Jane Kerr (Madame Thénardier): For all her two lines, I say . . . she was too old. She looked near sixty.

Ferdinand Gottschalk (Thénardier): Now, where was he?

Marilyn Knowlden (Little Cosette): A ten-year-old brat who giggled, whined, and screamed on cue. She looked much like Cinderella at the Thénardiers, her hair tied back in a kerchief. She was desperately trying to be cute, and came out disgustingly bratty. In one scene, she plays checkers with Jean Valjean and declares him the winner before the game was over. Checkers!

John Carradine (Enjolras): Not sure which one of the students Enjolras was because he isn't named. But, if he is that old skinny man who gives a stupid speech, then BAD CASTING!

1957 Gabin/March

Availibility: Check your local video store or library. If not available there, try searching around the Internet---it's listed as having "limited availability" on Amazon.com, but you could try ordering it from there, too, I guess.

Accuracy: Rivals, and perhaps surpasses, the Depardieu film in its plot accuracy.

Recommendation: Check it out only if you're a Les Miz freak. Although it's very faithful to the book as far as plot goes, it's pretty dull and badly acted. Also, I tend to be skeptical of films that can't spell their characters' names right on the back cover (Cossette?).

REVIEW:

Coming soon!

1978 Jordan/Perkins

Availability: Most video stores should carry it.

Accuracy: Fair.

Recommendation: If you really love Les Misérables, try and see it just for graveyard scene (not because it's good, but because it's THERE). The film is rather dully done and definitely not a must-see. But if you do decide to check it out, make sure to get the longer version of this film. The graveyard scene and several other small scenes are cut from the shortened version.

REVIEW:

Coming soon!

1998 Neeson/Rush

Availability: Most video stores should carry it.

Accuracy: First half, fair; second half, horrid.

Recommendation: Worth seeing for the performances of Neeson and Rush.

REVIEW:

Coming soon!

2001 Depardieu/Malkovich

Availability: Not good. If you're French, you can get it. If not, forget about it. Or write Fox Family and beg them to re-air it.

Accuracy: Not perfect, but fairly good. Eponine and Enjolras are present, and that's really saying something. Never mind if they're rather strange.

Recommendation: See it if you can. It's well worth viewing.

REVIEW:

Coming soon!