Les Misérables: A Fresh View of the Popular Musical That Truly Embraces the Darkness and Pain within the Story

Director Tom Hooper (The King’s Speech) has once again struck gold.  While there are a few drawbacks to his musical masterpiece, the overall cinematic experience is thrilling and ultimately cathartic.  With all musical numbers filmed live rather than using playback in a studio, actors were empowered to deliver some of the finest performances of the year while in some cases improving on classical numbers by leaps and bounds.

Premise: The story of several characters in France during Revolutionary times based on the Hugo book and the well-run musical. Result: A powerful, fresh, often heart-wrenching delivery by a talented cast, writer and director. .

Adapted by Claude-Michel Schönberg and Alain Boublil for the stage from the classic Victor Hugo novel, Hooper worked with screenwriter William Nicholson to transform the musical from a stage production to an undeniably epic cinematic experience.  The story is beautifully translated into film through gritty, yet stunning cinematrogrphy with every possible attention to detail.  And all the favorite songs, “I Dream a Dream”, “Castle on a Cloud”, “One Day More”, “On My Own”, and so on are transformed by Hooper’s desire to let the actors act through the songs and ultimately re-interpret them.

The story begins with Jean Valjean (Hugh Jackman), a man sentenced to prison and unendurable labor simply for stealing bread to feed his family.  But in post-French Revolution France where a monarch once again sits upon the throne, poverty is a means to subjugate the people.

And so even once released by the rigid, implacable Javert (Russell Crowe), he is placed on permanent probation, ultimately a death sentence since none will hire a convict, no matter the nature of the crime. And so the nature of Les Misérables, roughly translated from French, to mean The Poor.  The Downtrodden.  The Hopeless.

But by act of God, once released, Valjean is taken in by a clergyman who announces that his kindness is from God.  And so even when Valjean betrays the Priest by stealing the silver, the man does not condemn him, but gifts him the silver in return for Vlajean rebuilding his life for Good.

The film advances several years to the logical progression of this kindness: at Valjean’s factory – he is now Mayor but under an alias as be breaks parole- where a young, pious woman named Fantine (Anne Hathaway) labors amidst jealous peers and handsy foremen to make money for her daughter.  But while Valjean is distracted, Fantine is wrongly expelled and doomed to a life on the street.  Here audiences will watch in horror as Fantine falls deeper and deeper into helpless misery, until finally she provides observers with one of the more chilling renditions of “I Dream a Dream” likely ever performed.

She does this, of course, for her young daughter Cosette (Isabelle Allen) whom she has left with vile innkeepers Thénardier (Sacha Baron Cohen) and wife (Helena Bonham Carter) who are abusive to Cosette in favor of their own child Éponine. But out of shame and duty, Valjean comes to save the girl and raise her as his own.

The rest of the film, like the famous story, focuses on two great injustices: first,  the injustices of the time politically, specifically on the new revolution that includes Marius (Eddie Redmayne), Enjolras (Aaron Tveit), young Gavroche (Daniel Huttlestone) and a multitude of young Revolutionaries.  Included also is the strange, ever-brewing almost absurd rivalry between Valjean and Javert.

But the true focus is the injustices is love.  Here Cosette (Amanda Seyfried) and Marius fall in love despite Éponine’s (Samantha Barks) advances, but intertwined with War and duty, the complexity causes nothing more than pain.

But what really drives the film home are the performances.  While it should be said that there are a few questionable casting choices that distract from the overall impact of the film, those actors that deliver well, deliver beyond expectation.

Jackman, it must be said, delivers one of the most powerful performances of the year, by far.   He takes daring risks with his character, allows himself to be transformed over and over again from vile destitute to upstanding gentleman to war participant.  He pushes the envelope consistently and it is impossible to look away as Jackman delivers a truly stunning, raw performance.

Only Hathaway can stand before such a performance and cast doubt upon it.  While Fantine is lamentably in comparatively little of the film, Hathaway is a gale-force wind on screen.  Every movement calculated, every expression measured, every agonizing tear controlled with fragility, grace, and unmistakable realism.  And her rendition of “I Dream a Dream” is flawless, a stunning testament to her talent, and her ability to interpret the song -a dark, chilling, monstrous masterpiece about Hope’s demise- perfectly.

Baron Cohen and Bonham Carter are also remarkable, if for different reasons.  Their characters are ultimately comedic in nature, but this duo is up to the task.  They deliver every humorous nuance flawlessly and inject laughter at times when many other actors might miss.

Banks and Tveit are also standouts in their respective performances.   Huttlestone as well is remarkable, bringing a strange Oliver Twist performance while still managing the darkness the  young character requires.

It should be noted that not until Huttlestone emerged did I notice everyone was speaking in a British accent despite this being France, where, if I recall correctly they use a French accent. This is annoying, but more a commentary on all such films which don’t seem to realize the French can speak English.

For as strong as the above are in their performances, it is equally noticeable when some characters are not.  Crowe as Javert seems more interested in singing than in acting, and as a result his performance comes off stiff and stage-y, made more noticeable amidst the more darning performances already mentioned.

Redmayne is frequently forgettable in his role, one that should have carried emotional weight; it should be noted that in one scene, where he is alone lamenting his time, he finally shows the emotion and power that was required of Marius (at least a testament that he actually can do it, even if he rarely did it.)

And Seyfried, as she has been in most of her recent performances, approximates cardboard.  Her greatest problem is her eyes, large and round and ever constant, never expressing emotion, never demonstrating pain.  You can only tell what she is trying to do if they well up or redden.  Such a lack of facial control is almost unsettling.

In the end, through typically strong performances – some of which are beyond measure -, some strong direction, epic visuals and gritty, powerful cinematography, Hooper has made a film worthy of the original story.  And perhaps, by virtue of cinema and the thespian craft, somehow made it fresh and new.

Rating: 8 – An expensive red wine and juicy steak

 

Dark Shadows: Some Fun, Some Strange, Mostly Mediocre

Collaborating once again with Johnny Depp and wife Helena Bonham Carter, Director Tim Burton has cultivated in Dark Shadows some unexpected results. The first half of the film is surprisingly fun, energizing and coherent, a feat thought largely impossible from the trailers alone.  However, this results in a downside as well: the success of the first half creates higher than average expectations for the latter and sadly, these expectations, victimized by plot incoherence and some shockingly poor decision making, are far from fulfilled.

Premise: Imprisoned by a jealous witch, vampire Barnabas Collins is set free and returns to his ancestral home, where his dysfunctional descendants are in need of his protection. Result: A film that starts out strong only to end at the bottom of a cinematic ravine.

Based on the cult-classic 60s television series, Dark Shadows spans several centuries to cover the afflicted life of a Mr. Barnabas Collins (Depp).  The heir to a Maine Seafood Fortune cultivated by the British Collins family, Barnabas grows up in Collinsport (named for the family) in an American castle, known as Collinwood, in the late Eighteenth Century. Everything works wonderfully for Barnabas until his affair with the lovely housemaid Angelique Bouchard (Eva Green) is cut short by his failure to reciprocate her love.

To Barnabas’s great misfortune, Bouchard turns out to be a powerful witch and uses all sorts of sinister sorcery to not only murder his parents and his true love Josette (Bella Heathcote), but also turn him into a Vampire to prolong his suffering for all of time.  She then has the townspeople bury the creature, never to be heard from again.

Of course, he is heard from again when a construction team happens upon his coffin and unwittingly releases him (note to reader: should you ever stumble upon a coffin that not only has been chained closed but also happens to move violently, run, don’t walk, away). Here Burton does a wonderful job of balancing humor and horror: in one moment Collins is joking, in another he is killing a half dozen people, and then back to joking again.  The moods switch quite frequently but also deftly, keeping the audience invested despite the emotional roller coaster.

Collins then reports to Collinwood, now in ruins, to resume the life that had been stolen from him. Here he stumbles upon a ragged Elizabth Collins Stoddard (Michelle Pfeiffer) who is the de facto head of the crumbling household.  Within the 1972 Collinwood dwell some of the more bizarre creatures Burton has coinsured (and this not including the witch or vampire.)

Brother Roger (Jonny Lee Miller) is half deadbeat dad and half petty thief, daughter Carolyn (Chloë Grace Moretz) who looks desperate to take a mouth full of high-Octane meds, nephew David (Gulliver McGrath), who is supposedly crazy for seeing visions of his dead mother, and Dr. Hoffman (Bonham Carter) who juggles caring for David’ psychosis and her own alcoholism. Of course, there is also the help, consisting of old lady mute-pants Mrs. Johnson (Ray Shirley), Willie Loomis (Jackie Earle Haley) who seems to have just escaped from Shawshank Prison, and, of course, the new and not a minute too soon Governess Victoria Winters (also Heathcote).

Ultimately, the film follows several key storylines, some better than others.  At the forefront are Barnabas’ actions to turn Collinwood into an inhabitable castle once more and the business into the pride of their family.  This, of course, invites the ire of the villainous Bouchard who seeks to both destroy and (lovingly?) ensnare Barnabas.  There is, of course, the third plotline that reunites Barnabas with a supposed ancestor of his former love.  As these plots build, there is significant humor intermingled with trademark Burton darkness that makes the film both entertaining and exciting.

But as the film nears its second half, the novelty has largely worn off.  This is due to some mind-boggling errors from Burton and his team.  At first, there is only an inkling that the bright lights of this film are flickering: a few bad jokes here and there, but not enough to distract from what is going well.

However, then, like some sudden phantom, the calamity is upon the audience and the echoes of screeching wheels overwhelms.  Scene after scene becomes more absurd than the last; some moments are just silly, taking their tolls as the story builds, but some just come completely out of nowhere (why is there a werewolf?  Why the ghost screamer?) As the chaos subsides at film’s end, we are left with a resolution that is rushed, clumsy, unfunny, and disappointing.  Unacceptably, it appears somehow like Burton lost interest in the film by the mid-mark and was replaced by a local grade school prose assignment.

The acting in the film is strong, however.  Depp, as always, manages to make this character memorable, fully embodying the creature, letting himself seep into every pore.  While at times the character clearly becomes a bit absurd and the even annoying, this is mostly due to the script he had to work with than the delivery. Green is also quite strong as the villain, swinging like a pendulum from seductive to maniacal. Pfieiffer is also quite strong, perhaps the most consistent along with Depp, as a shrewd but tired matriarch, embodying loth, exhaustion, and creepiness.

Haley and Bonham Carter are additional treats in the film; Bonham Carter is awkward and eerie as always, embodying the true aesthetic her husband has cultivated so assiduously.  Haley, for his part, is ten parts creepy, twenty parts filthy, and all the rest pure comedy.  His glassy eyes and slack-jawed musings are comedic gold and help to keep some scenes moving that otherwise would have sat in squalor.

Overall, Dark Shadows exceeds only expectations that were painfully low to begin with.  The film is enjoyable for a significant amount of time, but ends poorly, ebbing from cringe-inducing to just plain boredom.  Nevertheless, Burton does manage to do enough with the film to keep Dark Shadows from being a failure.  Instead, the film is a fair representation of the series and an equally middle of the road entertainment experience. Considering the final scenes, this is quite the compliment.

Rating: 6 – A mediocre Prosecco that a cute bartender served you

The King’s Speech: How All History Should Be Told!

Tom Hooper directs one of 2010’s best films transforming a story that on paper could have been a boring, lifeless mess, into an exciting, deep, character-driven masterpiece.  Supported by a cast of brilliant actors in brilliant performances, this film makes us wish we’d taken history lessons from Hooper back in school.

Premise: The story of King George VI of Britain, and the obstacles he must overcome, particularly with the help of his speech therapist, during his impromptu ascension to the throne at the onset of WWII. Result: A film that itself should make history.

Aided by a strong script from David Seidler, Hooper sets his story at the advent of WWII.  While the monarchy itself has no real power, the premise of this film is that perception and leadership are far more important, and the role of the King at a time of war is essential to the morale of a populous on the precipice of war.

Enter the son, second-in-line to the throne, the Duke of York or “Bertie” (Colin Firth) as his family calls him.  He is a refined but afflicted Royal whose sense of entitlement is mature, but his ability to publicly demonstrate this sense has been curtailed by a developed stammer.  This physical manifestation of what we believe is a very real gap in self-confidence brought about the constant traumas of his upbringing and place in life, has reached emergency levels as his father, King George V (played by Michael Gambon), begins his low decline into death.

It is “Bertie’s” brother Edward ( later to spend 5 minutes as King Edward VIII) who is poised to take the throne and spare “Bertie” from the need to publicly speak.  But the hapless playboy Edward (played by the wonderful Guy Pearce) has been ensnared by the temptress Wallace Simpson, whose previous divorces ultimately force Edward to abdicate.  It is as this sub-storyline plays out, does the true premise of the film unfold.

“Bertie” is taken by his wife, Elizabeth (Helena Bonham Carter), to seek speech therapy from a failed Australian actor, Lionel Logue (Geoffrey Rush).    The chemistry is repellant almost instantly, although pure magic for the audience.  Logue requires that they remain “equals” in his quarters while the therapy is taking place and insists on all sorts of strange activities, such as fits of cursing and “not smoking”.  

This film ultimately rests on this initially adversarial but subsequently devoted relationship between the future and present King George VI and Logue.  Here Firth and Rush forge an on-screen chemistry that evolves the film from a plain, graying snapshot of overlooked history, into a nuanced and deeply rich tapestry of human trial.  Rush as Logue leaves the audience captivated by his clever retorts and palpable confidence; Firth, for his end, commands the screen and delivers a veteran performance that is more than a person overcoming weakness, but a leader triumphing on behalf of his people.  We are left salivating for each scene, each exchange, understanding that performances of this caliber require not only the audience’s attention, but their heartfelt sensitivity.

The supporting cast is brilliant in its own right, rising from required specks of scenery, into awe-inspiring complements to the leads in this masterful portrait.  Bonham-Carter is both infinitely powerful and infinitely vulnerable throughout this performance, allowing the audience to lift her to new heights as she supports her husband.  Pearce, as Edward, is brilliant in his madness, losing himself in his adoration for “that Mrs. Simpson”, and ultimately choosing obscurity for his view of love.  It is possible for the audience to fully sympathize with Edward, understanding the magnitude of his humiliation and disgrace as it opposes King George’s rise. Despite the audience’s momentary “double-take” at the casting overlap with the Harry Potter series (Helena Bonham-Carter – the Queen and in HP as LeStrange, Michael Gambon, King George V and in HP as Dumbledore, and Timothy Spall – Churchill and in HP as Wormtail), the choices here are impeccable.

In the end, this film delivers what it never promises: a film that takes the history of one nation, one many today are unaware of, and makes it our history, one collective history of human triumph and personal connection. 

Rating: 9 – An expensive red wine and juicy steak that someone else is paying for and where you don’t have to put out