For me, Les Miserables was just that.
Miserable!
When Russell Crowe’s image splashed across the screen – and he opened his mouth to warble a show tune from the popular stage production – I just about laughed out loud.
But, I held back, so I wouldn’t offend fans of the musical at the screening excitedly perched on the edge of their plush seats all around me at the AMC Theatre in Santa Monica (CA).
For starters, the key was too high for Mr. Crowe. If the musical director had of arranged the number in a lower register, the producers may have been able to take full advantage of the Academy Award-winning actor’s distinctive masculine voice.
In contrast, Hugh Jackman appeared to be in his element and right at home. The handsome gent is a triple threat talent, after all, who succeeds in conquering every realm of the entertainment field he saunters in to (seemingly at whim).
Meanwhile, a handful of the young less-seasoned actors struggled valiantly to perform toe-to-toe, and – in some cases – managed to pour out their little hearts along the way.
Eddie Redmayne was a classic example. Ever since his break-out role in “My Week with Marilyn” the gifted actor hasn’t looked back.
In this screen role, Redmayne has turned in a nuanced performance that resonates with the audience. Although his musical numbers were weak - his voice range is limited, after all - the actor's screen charisma makes up for the shortcoming.
Fans were probably ecstatic that he nabbed the demanding romantic lead role of "Marius".
Ann Hathaway was superb in he role, by the way.
Wasted talent!
After all, Les Miserables – the film adaptation – is much ado about nothing.
There just wasn’t enough “story” to stretch out for three staggering hours, folks.
Les Misérables is a French historical novel by Victor Hugo which was first published in 1862 and has been widely considered one of the greatest novels of the nineteenth century.
The title can be simply translated from French to the "miserable".
The novel follows the lives and interactions of several characters, and on the struggles of an ex-convict Jean Valjean, who experiences redemption throughout.
Hugo's masterpiece examines the nature of law and grace - while elaborating upon the history of France, its architecture, the urban design of Paris - and other intriguing topics - such as politics, justice, and moral philosophy, for starters.
Commercially, the work was a great success in France, Europe and the world over.
The film adaptation leaves a lot to be desired, though.
At one point, I dozed off, which is a surefire indication that the just-released feature is - at times - boring and incapable of holding an audience’s attention.
Of course, the lush sets – and beautifully-designed period costumes – are a feast for the eyes.
The cinematography was nothing short of spectacular visually.
There were quite a few cinematic moments which uplifted the audience to emotional highs – in part due - to a musical score which rose up and tore at the heart strings from underneath.
Sometimes the camera-work was baffling. For example, in one particularly bad scene, Hugh Jackman's character was placed in front of a blank grey wall for some inexplicable reason.
Duh!
I was forced to consider that due to a celluloid screw-up, the filmmakers were forced to do a pick-up shot. Unfortunately, the shot didn’t match up too well, not to my keen eye anyway.
For most part, the big-budget popcorn movie was way over-the-top!
Every time the strains of the signature theme song floated off the screen, I thought to myself, here we go again!
The director was toying with the emotions full tilt.
Cheap trick!
The rousing (at times haunting) score bolstered the project somewhat, though.
In fact, I found myself singing a bar or two of the music as I strolled out the door of the Theatre (which is always a good sign).
3 Stars!
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