By Moira Macdonald
(Seattle Times) The long-awaited film of the Broadway musical, “Les Miserables,” directed by Tom Hooper and starring Hugh Jackman, Anne Hathaway, Russell Crowe and Amanda Seyfried, will make you sing … and cry, too, writes Seattle Times movie critic Moira Macdonald in this review.
Russell Crowe and Hugh Jackman at the Sydney premiere of Les Miserables -- Photo credit: James Brickwood
Resistance is futile to Tom Hooper’s “Les Misérables.” It is going to sing at you until you succumb — and you just might.
“Les Mis,” as millions already know, is a sung-through musical tale (based on Victor Hugo’s sprawling novel) of love and death and revolution in 19th-century France, in which nearly every song is a catchy ballad and nearly every character we get attached to dies — generally immediately after singing an especially pretty and catchy ballad. The long-awaited screen version of the hit stage musical (now in its 28th year on London’s West End) makes things difficult for itself, with one key miscasting and a clunky opening sequence seemingly designed to clear the cinema of anyone not already a fan. But sit back and wait for this film — and these actors — to find their rhythms. This isn’t a great movie musical, but it’s a good one, with a couple of truly transcendent performances.
One of those comes from Hugh Jackman, who overcomes a rocky start (why does his voice sound so oddly tinny at the beginning?) to deliver a moving depiction of Jean Valjean, the saintly former convict now trying desperately to overcome his past. Jackman, a stage-musicals veteran, knows how to make singing seem as natural as speech, and his emotional connections with factory-girl-turned-prostitute Fantine (Anne Hathaway) and her daughter Cosette (played as a child by Isabelle Allen, then by a sweet but thin-voiced Amanda Seyfried) give the movie its heart. Russell Crowe, as Valjean’s nemesis Inspector Javert, is less successful: Crowe has a small, tight singing voice and — worse — he seems to stop acting when he sings, making the two an uneven match.
Hathaway, though in the movie briefly, is utterly riveting — in a performance that wouldn’t be possible onstage. Singing much of “I Dreamed a Dream” in a voice so tiny you fear it will fade away, like breath on a cold night, she makes Fantine’s pain immediate and real, and the way she curls her mouth into scorn on the song’s last line (“Now life has killed the dream I dreamed”) is devastating.
Hooper’s direction isn’t particularly imaginative; most of the songs are shot in tight close-up, which gets repetitive (as do all those ballads — though Samantha Barks as Éponine and Eddie Redmayne as Marius are particularly good at delivering them). But “Les Misérables,” with its ever-soaring music and ever-dreaming characters, has a grandeur to it, and the final interaction between Jackman and Hathaway would take a heart of stone to resist. Yes, I cried, and yes, I’m still humming; you might, too.
Source: Seattle Times