Les Misérables (2012)

Drama, Musical, Romance
Hugh Jackman, Russell Crowe, Anne Hathaway, Amanda Seyfried
In 19th-century France, Jean Valjean, who for decades has been hunted by the ruthless policeman Javert after breaking parole, agrees to care for a factory worker's daughter. The decision changes their lives for ever.
Impeccably mounted but occasionally bombastic, Les Mis?rables largely succeeds thanks to bravura performances from its distinguished cast.
  • Universal Pictures Company:
  • PG-13 Rated:
  • IMDB link IMDB:
  • 25 Dec 2012 Released:
  • 22 Mar 2013 DVD Release:
  • $148.8M Box office:

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Trailer:

Breathtaking - A Musical with Heart10/10
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 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!
Magnificent Adaptation10/10
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, 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.
Les Pàinful1/10
I went to see this film as a complete Les Mis virgin, having no idea as to the storyline, and having never seen any previous production nor having read the novel.

But I enjoy musicals (both in the theatre and film versions) and I went with an open mind, and looking forward to seeing something a little different from the norm. Sadly, within the first few minutes, I knew I'd made a mistake, and this has become one of my most hated films of all time.

Indeed, I always rate films but rarely review them, but I just had to get this off my chest. Particularly because so many reviews seem to be gushing about its brilliance, and although I'm fully prepared to admit that my views are in the minority, I think it's important to air them if only in the interest of balance and representation.

It didn't take long to realise that every single word of the dialogue was to be 'sung'. I say 'sung' rather than sung, because it wasn't what I could really refer to as singing. Just because one woooooord of any given liiiiiine is extended like thiiiiiis, does not, in my mind, make it 'singing'. In fact, if it weren't for the extended words in nearly every sentence, the film would likely have been at least thirty minutes shorter.

The lack of spoken dialogue really detracted from many of the scenes. When even the most mundane of sentences has to be delivered in such a way, it becomes grating. I wouldn't have been at all surprised for someone to bellow out "pass the saaaaaalt". It was just awful.

And the repetition! I understand that chords and themes repeat throughout musicals, often linking similarities between scenes and concepts and characters. It isn't that I don't understand that. But this was too much. It was as though the same tones and flow were repeated every four lines. Every. Four. Lines. With the third or fourth wooooooords extended. Every. Single Time.

I'm getting wound up reliving the moment and I've waited till the following morning before doing this review in case my opinion mellowed.

It hasn't.

And the duration of the film only served to make it worse. Occasionally the film would announce via on-screen text that it was now "8 years later", or whatever. And I felt as though I'd been there for that entire time. In fact, it felt like longer.

It became one of those films which leaves you feeling physically drained from the effort of battling through it. It was that bad. It felt like I've undergone a test of endurance and although I got through it, it wasn't without mental scarring!

Beyond the monotony, repetition and delivery, there was the story, which (perhaps as I had no prior knowledge of the source) was nonsensical. People falling in love within a single glance, which then goes on to motivate someone else to endure warfare to carry the person, half-dead? Chasing someone for what, 17 years, because of breaking parole for a loaf of bread, which itself warranted a previous 19 years of suffering? Only to then throw yourself to your death?

Am I meant to believe these characters? Am I meant to care about them?

Anne Hathaway's deterioration from factory worker to cropped and toothless prostitute was compacted into all of 42 seconds, so when it came to her performance of I Dreamed A Dream (which was a rare highlight in the film) its impact was stunted because why should we care about this woman? She's only just been introduced to us and we know nothing about her (presumably because everyoooooone is too busy singing like thiiiiiiiis instead of actually making us caaaaaaare).

Yet apparently Hugh Jackman cares so much about her that he then devotes his entire life to her child? It was mentioned at the very beginning that he has a sister and a nephew of his own, why not take care of them? Or were they dead (as he went to a cross in the ground after being paroled) but if that's the case it wasn't explained well.

A film should be able to stand on its own two feet and not require its audience to have read the book or seen the musical. The Harry Potter books far exceed the movies, yet people can enjoy the movies on their own merit. Not so with Les Mis.

And the casting was bizarre as well. I don't understand why the casting was given to Hollywood actors instead of singers. Borat? Really?? And accents were flying all over the place. Early in the film, when Hugh Jackman is in the church, he suddenly sounds as though he's stepped off the first boat from Ireland, and half of the cast of jumped straight out of a Mary Poppins chalk drawing!

I can't find a single redeeming feature to mention about this film. Miscast. Rubbish sets (most of it looking like obvious CGI). Repetitive 'singing'. No spoken dialogue. Nonsensical plot. Ridiculous pacing. No character development or involvement.

Beyond doubt one of the worst films I have ever watched, and I would sooner have my teeth extracted by a French street urchin than ever have to endure this horror again.
Even if you don't like musicals, you really should see this one5/10
As a massive film fan, my tastes are very wide-ranging, but I do have a problem with musicals. Nevertheless I was happy to take the opportunity of a private viewing of "Les Miserables" at the London office of distributors Universal - the day after the London premiere and a month before the UK release - because of the outstanding success of the original stage show (a run of 27 years with a total audience of over 60 million) and the surprising and impressive cast list (Russell Crowe, Hugh Jackman, Anne Hathaway, Sacha Baron Cohen, Helena Bonham Carter, Amanda Seyfried and Eddie Redmayne).

The showing was introduced by producer Eric Fellner of Working Title who underlined the commercial challenge of making a film in which all the dialogue is sung and the themes are so political and praised director Tom Hooper ("The King's Speech") for his insistence that every take was sung live.

The two main characters are presented in the opening seconds of a sweeping introductory sequence: the police inspector Javert (Crowe) and the prisoner 24601 Jean Valjean (Jackman) in post-revolutionary France. There follows over two and half hours with barely a spoken word which will not appeal to all cinema-goers, but the production is a triumph with Cameron Mackintosh's musical opened up by dramatic shooting on Pinewood's brand new Richard Attenborough stage and some historic English locations.

If Crowe and especially Jackman are excellent, Hathaway - who lost 25 pounds and most of her hair for the role - is outstanding as the destitute Fantine and Cohen and Carter almost steal the show as the comical Thenardier innkeepers.

I'm not sure how long it will take for "Les Miserables" to recoup its investment cash- wise, but it's going to win award after award and rightly so.
Les Misérables9/10
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 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' Eponine 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. Thenardier 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 Eponine 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.