Do You Hear The People Sing?: A Review of Les Misérables

It seems that musicals have become the “it” thing to turn into movies these days. In recent years, the box office has been overrun by film versions of plays ranging in topic from the AIDS epidemic in the 1980’s, to the Civil Rights Movement in 1960’s, to a love story told through the music of ABBA. Though each may tell a very different story, these movies all have one thing in common: they contain music that is lively and easy to sing along to. Audiences continue to flock to these films because they are fun, easy, and are a great way to escape the stress of the real world for an hour or two.

Understandable as it is for Hollywood to scramble to meet this demand, the results thus far have been mediocre. Over the course of the last several years, plays that have flourished on stage have floundered on the big screen. A mixture of stunt casting, unnecessary editing of crucial scenes, and sped up soundtracks have resulted in musicals that have lost their heart and are void of the integrity they once held on stage.

For a fan of theater, the trend of musicals-turned-into-movies has been a disappointing occurrence to watch, until now that is. Despite its lack of upbeat dance numbers and peppy lyrics, Tom Hooper’s Les Misérables has set the bar for a new generation of cinematic musicals. Set in the 19^th  century, Les Misérables spans 17 years and follows the tragic lives of several individuals attempting to survive in a post- French Revolution society.

In a way it makes no sense that this play should translate so well on film; the story is bleak and the music, although memorable, is devastatingly sad. For audiences looking for light theatrical fare, a movie whose title roughly translates to “The Wretched,” should not be a winner. Yet in thanks largely to the creative choices of the director,  Les Misérables is absolutely gripping.

Choosing to have his cast sing the songs live as the scenes were filmed as opposed to going the traditional lip-syncing to a prerecorded soundtrack route, Hooper has created a finished product that is filled with intense energy that at times is unapologetically raw. Intimate close-ups strip away the glitz and glamour that usually accompany movie musicals. Instead the audience is treated to performances that seem natural and unrehearsed.

Hugh Jackman gives the performance of his career as Jean Valjean a convict who breaks his parole in an attempt to become a better man. In a role that lasts no more than a half hour on film, the accolades being given to Anne Hathaway for her turn as Fantine are beyond deserved. She forgoes her usual ethereal beauty to play a down on her luck street rat slowly dying of disease and heartbreak. Her fall from grace is perhaps one of the most moving transformations ever caught on film.

Many have criticized the casting of Russell Crowe as Jean Valjean’s foe. Though his voice is unpolished, Crowe’s gruff turn as Javert, is a perfect compliment to Jackman’s tenderhearted Valjean. The stiffness he projects throughout the movie perfectly reflects the inspector’s misguided loyalty to the justice system. By the time he sings the last chorus of “Javert’s Suicide,” the audience is left grappling with their desire for the character to fall to his death while at the same time weeping over his imminent demise.

The surprise performance though comes at the hands of Eddie Redmayne who steals every number that he is a part of. Redmayne brings vulnerability and a sense of remorse to the privileged Marius. Hitting a particularly high note, both literally and figuratively, during “Empty Chairs At Empty Tables", it'a shame that not more recognition is being given to this up and coming actor.

As Enjolras, Aaron Tveit gives heart to a character who might otherwise seem reckless and unforgiving. While Anne Hathaway is the front-runner to win the Best Support Actress award at The Oscars on Sunday, this film is undeniably a group effort. The movie works best during its large ensemble numbers. Some of the strongest moments of the film occur in the second half during the barricade scenes. The performances given during “ABC Café/ Red and Black” arguably manage to outshine the ever-championed “I Dreamed a Dream”.

With the help of an amazing casting and a mesmerizing score, Tom Hooper has created a movie that does not shy away from the grittiness of the original plot. In a story that could easily have turned into a kitschy, over-the-top mess on screen, the entire cast comes together to paint an intense yet believable picture for the audience. Though  Les Misérables contains aspects that could be considered romantic, the story of Jean Valjean was never meant to be a fairy tale. 

Hooper does not forget this, choosing an overall darker tone for the film. As a whole,  Les Misérables manages to stand on its own giving several clever nods to the original stage production. Coming just under the three-hour mark, this adaptation is both epic and accessible. The movie stays true to the original production while carving out its own place in cinematic history.

In short: Go see this movie.