Les Misérables, Ep 2

lily les misLast night was the second episode of the Masterpiece/BBC production of Victor Hugo’s Les Misérables. I knew what was coming. I knew that Fantine was in for a tough timethis week. Her lover Felix had agandoned her and their baby Cosette and Fantine had no family or skills to support her well.

Last night we saw Madame Thenardier for the first time. Olivia Colman’s portrayal is both lusty as you’d expect, but also more likable because unlike the novel or the films, this Madame Thenardier tells her disreputable husband that he should be more honest because by getting a reputation for honesty, their inn would prosper. He slaps her for this. Later, another character makes the same point. I’m not sure why this production chose to white wash Madam Thenardier’s character when earlier productions succeeded with the character depicted as shown in the book.

As anyone who’s seen the films or read the novel know, in the next chapters Fantine experiences great hardship. She’s truly one of the “Les Misérables.” Though I wanted to be strong, I did have to look away at at one time mute the TV as Fantine’s fate takes a turn for the very worse.

The episode was unstinting in its depiction of Fantine’s fall. In fact the scribbler she uses to read letters from the Thenardier’s treats Fantine horribly suggesting, if not urging her to sell herself and criticizing her for selling her “assets,” i.e. her hair and teeth, before she turned to prostitution because with her cropped hair and toothless smile, she’s a less desirable object . . . . Ugh.

Fantine’s fall is worse than Jean Valjean’s and part of this is due to her extreme naivety. She never questions the Thenardier’s who constantly ask for more money to care for Cosette. She leaves her daughter with absolute strangers, though in this day there were orphanages for children with living parents. That would be the better route. In the book we’re told that Fantine had no parents at all and just grew up wandering about her small town and getting food, clothing and shelter from whoever felt generous. (Not sure why she wasn’t in an orphanage.) So that information explains a lot about why Fantine lacks common sense and has no one, no aunt, cousin, parent, etc. to turn to for help.

Cleaned up and dignified, Jean Valjean has moved upward gaining wealth and power now that his factory is prospering and he’s become mayor. The people love him. But soon Jalvert turns up and recognizes his old prisoner. Naturally Valjean gets nervous, but he remains true to the Bishop. He’s found God and honesty, though he still errors (in terms of firing Fantine, mainly because he didn’t know her full story). This production does a better job than the musical showing how much Valjean agonizes over saving the thief who’s about to die in his place. The musical certainly shows us how easy it would be for Jean Valjean to keep quiet and continue to live his new life, but this drama accentuates the dilemma.

There’s one sequence with Marius as a young boy. Somehow time hasn’t effected him as much as it has Cosette. His growth is a lot slower than hers in the interim between this and last week. Anyway, what struck me was the powered wig he sports and is worn by his grandpa and his cronies. It’s a stark, grandiose contrast to the prosperous Jean Valjean’s hair. I can’t remember if Hugo’s book makes the upperclass this contemptible.

All in all, I’m enjoyed episode 2, though it had some scenes of great suffering that I couldn’t bear. Things are bad, but not this bad in the weeks ahead. I will add that this is not an episode I advise kids watching. It might even be considered R rated for Fantine’s struggles in the streets.

 

Les Misérables, Ep 1

It’s no secret that Les Misérables is one of my favorite stories of all time. I’ve read the book and seen the musical, the film with Liam Neeson, the film with Jean Gabin and the one with Harry Barr. I’ve loved them all.

I lost track of time and missed the premier of Masterpiece’s newest Les Mis, but fortunately, I taped it and am now ready for episode 2.

Beginning with Thénardier (Adeel Akhtar) robbing the pockets of soldiers killed at Waterloo. As luck would have it, Pontmercy, a solider, wakes up and mistakes Thénardier for a savior. Then in the prison where Jean Val Jean (Dominic West) toils away while being abused, beaten and tricked by the guards and Inspector Javert (David Oyelowo), a 19th century French Pharisee. Early on we also see Pontmercy’s wealthy father-in-law who’s taken custody of his grandson when the boy’s mother died. Vehemently opposed to Pontmercy’s politics, the grandfather forbids Pontmercy to see his own son, Marius, a cutie pie in velvet and frilly collars.

Fantine’s story of meeting Felix, Cossette’s father, this production starts earlier in the book than the musical. We get to see the slimy, philandering Felix who loves and leaves poor, naive Fantine. Interwoven with Fantine’s story, we see Jean Valjean get freed from jail and encounter hostility and injustice till he’s welcome by the saintly Bishop Digne.

I’m thoroughly enjoying the story. It’s a lush production. I always have an odd feeling about computer graphics. I can tell it’s not real (or faux real). I sense something lacking in the vast settings that must be computer graphics.

The story spans decades and contains several plot lines. Victor Hugo dedicated each section of the book according to a main character. The screenwriter has woven several sections together and the chronology’s changed. Some things seem to be simultaneous here, when they weren’t in the book. For example, at the end of episode 1, Fantine’s holding her daughter Cossette, who looks like she is at least a year old. Yet Felix just abandoned her a few hours before. I thought Fantine got pregnant after Felix left her. Also, Jean Valjean has just left the Bishop’s. It seems the timing is off between Fantine, whose story doesn’t need much time to progress to the next stage, and Jean Valjean, who took many years to get to the next point when he’ll meet Fantine.

Even though there are some differences between other productions and these do bother me, the annoyance is small and Les Misérables is a story that can’t be ruined. (Knock on wood.) So far this series is off to a good start.

Les Misérables, 1934

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As a big fan of Victor Hugo’s novel and the musical Les Misérables, I had to get the Criterion Collection version of Raymond Bernard’s epic film, which was made in the 1930s. (Some say 1934, others 1935.)

At 284 minutes, it’s a long film and I’ve been watching it over the course of a couple weeks, but it’s been worth it. (This might be the longest film I’ve ever watched.) For the theaters Bernard succeeded in convincing the studio to release the film in three parts so viewers would watch the film on three different days at their convenience. Quite a wise idea as I had to take breaks.

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Jalvert listens to Fantine

At first because I’m so tied to the musical with Hugh Jackman, I didn’t connect immediately with Harry Baur as Jean Val Jean. But with his sincerity and vulnerability Baur won me over and became Jean Val Jean as much as any actor.

Since this Les Misérables was made in the 1930s, I expected lower production values. Certainly scenes weren’t as lush, but they were high quality and a lot of money went into the rebellion and costumes and more. The film spent less time with Fantine and didn’t hurt the filmportray her falling into prostitution as graphically as the musical, but I see that as a plus because I know some friends didn’t want their children who’re in middle school to see those scenes with Anne Hathaway. I don’t blame them because they are hard to watch and more so for young viewers. Here if your teen is willing to read subtitles, they won’t be so affected by Fantine’s downfall.

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Jean Val Jean (aka the mayor) saves a trapped man

Compared to the musical, Bernard’s film doesn’t sugarcoat the Thenardier’s greed and cruelty. They aren’t made to seem funny or cute. This film also makes it clear that the young boy, Gavroche was the Thenardier’s son.

Even with almost five hours of film time, spread across three films, Bernard edited out some of Hugo’s work, even some parts that are present in the shorter musical. I missed the expected scenes at the end when Marius distances Jean Val Jean from Cosette.

All in all, while it’s a time commitment, this production of Les Misérables is well worth watching if you’re a fan of the story. I will definitely look for more films directed by Raymond Bernard and for films featuring Harry Baur, who was great as Jean Val Jean.

En Française: Les Misérables

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Bien que Michael Phelps d’une du Chicago Tribune et un examen étoiles et demi diminué mes attentes pour le film Les Misérables avec Hugh Jackman, Anne Hathaway, Russell Crowe et Amanda Seyfield et al, j’ai aimé le film. Alors que je suis d’accord avec Phelps que le travail de la caméra était bizarre avec trop de gros plans à mon goût, la musique et des spectacles surmonté cette faute.

La musique a été bien fait et j’avais oublié combien de chansons excellentes le jeu comprend. Oui, l’émotion est forte partout et il ya beaucoup de misère dans l’histoire, mais qui est destiné et sonne vrai. Je pensais que Anne Hathaway joué admirablement et que vous souhaitez l’histoire a eu plus de son sort. Les femmes sont principalement victimes de Les Mis et je pense que cela ne doit pas être le cas à être fidèle à l’histoire, non pas que la précision était l’objectif de la comédie musicale ou qu’il doit être.

Je n’ai pas été impressionné par l’acteur qui était Marius, il semblait bien d’une “average Joe” ou “average Jean,” pour définir le cœur de quelqu’un sur le feu avec un coup d’oeil.

Une autre critique est que ce film devrait être acteurs avec des accents français, pas en anglais. Je semble être le seul à cette idée que si vous allez faire un film sur un pays étranger ne doit pas le son des acteurs comme s’ils étaient de ce pays?

Tous mes critiques sont mineures. Les Mis fascine et vaut pour les habitués. Je m’attends à ce qu’il engranger plusieurs prix.

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