85th Academy Awards Best Picture Nominees: Les Misérables

Courtesy of Jayne Pankhurst – http://www.jaynelikestodraw.tumblr.com

From minute 1 to minute [insert whatever the last minute of the movie that you’ve been bothered to find out is, here], Les Misérables is a big film.  The sets, the songs, the set-pieces, the voices, the time-span  the budget and, oddly enough for a musical adaptation, the ambition are all massive.  But yet, at its most personal, the extreme close ups (notably on grandstand solos from Anne Hathaway and Hugh Jackman) allow this huge picture to be searingly intimate.  The result: a very fine production which has resulted in box-office takings to match its omnipotent gigantism.

Faithful to the musical (which plays out more like an opera) almost every line in the film is sung, starting with Jan Valjean’s (Jackman) release from hard labour after he “stooooooooooole a loooooaf of breeeeead“.  Shown the mercy of the church, he resolves – in his extremely impressive solo – to lead a more virtuous life.  Tracked all the way by Russell Crowe’s police sergeant (his name’s Javeeeert. Do. Not. Forget. His. Naaaame), he becomes a benevolent town mayor, foster parent, revolutionary, life-saver, and generally all around nice guy.

Valjean is undeniably the role Jackman was born to play.  With a background in musical theatre, his vocal talents and charismatic screen presence are fine companions and you cannot imagine a film in which he would be better.  Many rather severe critics have suggested that this leaves Russell Crowe drowning in a sea of arias and semi-quavers (I haven’t actually seen anybody make that particular critique, but you get the idea), but he does more than simply tread water.  Okay, his vocal range isn’t up to Jackman’s high standards, but Crowe isn’t half bad.  And luckily for him, Javert is the most interesting character in the film.  Completely committed to cause and crown, and completely unable to comprehend how the luck of the Gods can smile so fondly on that outlaw Prisoner 24601, he ultimately submits to the fact that France isn’t big enough for the both he and Valjean.  Crowe brilliantly portrays Javert’s passion, conflict and frustration.

But if Crowe’s singing doesn’t quite cut the dijon, then Hathaway’s is most certainly mustard.  Her single-take ‘I Dreamed a Dream’ arguably steals the show…sorry, film…and, with it, the Best Supporting Actress Oscar.

Eddie Redmayne’s Marius, together with his revolutionary cohorts Enjolras (Aaron Tveit) and Éponine (Samantha Barks), comprise a very strong ensemble, while Sacha Baron Cohen and Helena Bonham Carter as ne’er-do-well innkeepers the Thénardiers provide double-barreled light relief in the second Act before outstaying their welcome.  And if one criticism can be aimed at Les Mis, it’s that after Hathaway’s potent, if brief appearance, the action loses a little momentum.  The gaping time-skips don’t help, but unfortunately this is part and parcel of adaptations.  To at least some extent, you’re stuck with the faults of the source material.

But the Academy loves spectacle, and Tom Hooper delivers it in abundance.  Do you hear the people sing?  It sounds great.

Les Misérables; 2012; Dir: Tom Hooper; Stars: Hugh Jackman, Russell Crowe, Anne Hathaway; 158 mins; 8/10; 8 nominations (Best Picture,  Best Actor, Best Supporting Actress, Best Production Design, Best Sound Mixing, Best Costume Design, Best Makeup and Hairstyling, Best Original Song)

Bloscars’ Best Picture chart

1.  Beasts of the Southern Wild

2.  Les Misérables

3.  Zero Dark Thirty

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