In what seems like an eternity, Tom Hooper’s long-awaited Les Miserables starring Hugh Jackman, Russell Crowe, and Anne Hathaway has finally been screened and finished. Director Hooper came out to introduce his film at the Alice Tully Theater at Lincoln Center on Friday, November 23, 2012 and explained that he had just finished the picture at 2 a.m. the evening before. The wait was well worth it. Les Miserables is not only stunningly powerful, and beautifully crafted, it’s the best stage musical adaptation since Rob Marshall’s Chicago (2002). Incredibly moving and featuring some of the most powerful musical numbers ever constructed, Tom Hooper tops his previous film The King’s Speech (2010) with artistry and passion.
The film tells the story of Jean Valjean (Hugh Jackman), a paroled prisoner in the 1800s that over the course of decades, attempts to find redemption while a police inspector Javert (Russell Crowe) pursues him relentlessly.
What astonishes me is how emotionally invested I became with the characters. I’ve never witnessed the stage musical on Broadway so this is my first outing with the musical. Hooper brings focus to each player and ensures they are an integral part of the story and film. Jean Valjean is our hero, placed firmly front and center, attached to the screen and centered cinematically in the medium for all the audience to invest. Jackman has never been better, delivering his most devoted and tender turn of his career. His opening number “What Have I Done?” and near closing “Bring Him Home” are his shining moments showcasing a vocal master class and a sensational acting piece that will put to rest any doubts about how talented he really is. It’s unfortunate that despite his career-topping work, the Best Actor race is incredibly competitive and even more stacked. It’s not a sure-thing for him to be named among the nominees but a strong campaign with a constant reminder of his preparation for the role, losing 30 pounds, vocal training, etc. could push him over.
Russell Crowe in the role of Javert was the only principal actor not to be featured (prominently) in the full-length trailer and featurette, placing speculation in his abilities to sing for the role. Unfortunately, standing next to the likes of Jackman, Eddie Redmayne, and other cast members, his vocals are merely satisfactory. There are many who may find his work here grating and ill-fitting. Physically, Crowe fits the role quite well. He’s always been an outstanding actor, proving time after time that he can deliver in the right roles, singing roles notwithstanding. His final number “Soliloquy” shows his limitations considerably but Crowe cannot be completely faulted. He makes do with what he has and is satisfactory.
In the role of Fantine, Anne Hathaway sings and seals her Oscar speech with “I Dreamed a Dream.” Despite her role being incredibly brief, she makes an undeniable impression and has solidified herself in the Best Supporting actress category. Hathaway lost nearly 15-pounds for the role, cut her hair off, and vocally prepared for weeks. Hathaway doesn’t just act like Fantine; she becomes her, with blood, sweat, and tears and talent, voice, and art. It’s her best turn since Rachel Getting Married (2008).
As Epinone, Samantha Barks is one of the year’s found treasures. Devastatingly heartrending in her number “On my Own,” Barks shows she was born for the role. Is Barks Oscar-worthy? You bet she is. As Cosette, Amanda Seyfried puts her best practices to use as she sings delightfully and remains a warming presence. Don’t get me started on Young Cosette played by Isabelle Allen who is cute as a button and full of acting abilities. In our rare instances of comedy, Sacha Baron Cohen and Helena Bonham Carter stand out among a great ensemble. “Master of the House” is a hilarious scene that has the two performers doing what they do best.
When you feel like you’re down by a few runs, a coach always sends in his pinch hitter to shut the other team down. In this case, Tom Hooper got a whiff of other viable contenders like Steven Spielberg’s Lincoln and Ben Affleck’s Argo closing in on the Oscar game, Hooper went into his arsenal and sent in the stand out and very talented Eddie Redmayne to rid any doubts that Les Miserables is not the year’s most innovative picture. More importanly, Redmayne has put himself in a prime position to be one of cinema’s most gifted thespians in years to come. As Marius, Redmayne embodies him, heart and soul, and allows it to pour from the screen and into the aisles tear by tear. Incredibly moving, Redmayne during “Empty Chairs at Empty Tables,” will make you believe in the power of Les Mis and even more, the power of the movies.
Eve Stewart’s Production Design is stellar and stands brightly next to other period contenders this year. Danny Cohen’s Cinematography feels more appropriate and even more ambitious than his last outing with Hooper. It’s a nomination that Cohen can easily capture. Paco Delgado’s costumes are gorgeous and with his choices for Cosette and Marius’ wardrobes, he’ll stand out next to any contender this year at the Academy Awards. Chris Dickens’ editing is fluid and in many ways is the reason the film succeeds so well.
For months, Universal Pictures and other industry analysts have praised Hooper’s decision to have the actors sing LIVE on set. It’s an added accompaniment and Hooper along with the Sound crew, cleans and crisps up the music marvelously and skillfully. The song “Suddenly,” written for the film, is an instant contender in Original Song.
Tom Hooper’s direction is what shines as he delivers zeal and intensity in his approach to bring every single actor and craftsman to their fullest potential. He’s the conductor, composing in ways, his most personal work. He deeply cares about the story, music, and production. There are instances as the film engulfs you into the screen, where Les Miserables feels larger than life. A cautionary tale about revenge and redemption that could be the great musical structures this side of the world. Hooper respects the medium, appreciates and understands the narrative, and nurtures his performers like the father of cinema. It’s one of the great directing achievements of the year.
The Oscars don’t need to look any further; Les Miserables destiny is at the top of the Academy Awards. This is the best picture of the year!
The film opens everywhere December 25, 2012.
Watch the Full Trailer:
Visit the Website:
http://www.lesmiserablesfilm.com/
Jack
November 24, 2012 at 12:38 am
How long was it? 2.5 hours?
Jack(Quote) (Reply)
John Rivera
November 24, 2012 at 12:45 am
Why am I the only one that thinks that This film isn’t winning BP? is it because I feel like it’s too soon to award Hooper?
John Rivera(Quote) (Reply)
Massimo
November 24, 2012 at 4:52 am
I feel the same way.
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Ra
November 24, 2012 at 12:57 am
My money is still on Lincoln though. I love that film.
Ra(Quote) (Reply)
Steve Glansberg
November 24, 2012 at 3:53 am
Ah, if only The Social Network and David Fincher had won in 2010, Les Mis and Hooper would have no problem scoring awards this year. However, I have a difficult time seeing Hooper as a two-time best director winner, and I wonder if the academy will see it the same way. Still, I’m excited to hear that Les Miserables turned out so well.
Steve Glansberg(Quote) (Reply)
Ethan Wasdovitch
November 24, 2012 at 4:19 am
I don’t think Hooper will be awarded again.
Ethan Wasdovitch(Quote) (Reply)
Max
November 24, 2012 at 5:13 am
Looks like it’s between Les Miz and Lincoln after all. Nothing else really stands a chance, unless in the rare case where Zero Dark Thirty turns out to be just as good as The Hurt Locker, or if Django Unchained surpasses the greatness of Pulp Fiction.
Both films are going to receive well over 10 noms, in almost all the same categories, with the exception of Score and Song: Picture, Director, Adapted Screenplay, Actor, Supporting Actor, Supporting Actress, Production Design, Editing, Cinematography, Costume Design, Makeup, Sound Editing and Sound Mixing.
I am forecasting a major split in all categories, with Les Miz taking Picture, Supporting Actress, Production Design, Costume Design Sound Mixing and Song(Unless the Academy chooses to give Song to The Hobbit as a consolation win); Lincoln for Director, Adapted Screenplay, Actor, Supporting Actor, Score and Makeup(Unless The Hobbit takes this one as well); Life of Pi for Visual Effects and Cinematography; Argo(Its chances for major categories are fading fast) or Zero Dark Thirty for Editing; Silver Linings Playbook for Actress(unless, of course, Jessica Chastain wows in ZD30), The Master or Django Unchained for Original Screenplay; and one of the blockbusters(The Dark Knight Rises, The Avengers or Skyfall) for Sound Editing.
The few released films that could split the Best Picture vote: Life of Pi, Argo, Silver Linings Playbook, The Master and Beasts of the Southern Wild(Some may doubt the latter two, but while they won’t even come close to winning, they do have some passionate supporters that might sway the tide).
Max(Quote) (Reply)
Jamie
November 24, 2012 at 8:33 am
I’ve maintained for weeks now that this year would be a well earned battle between Lincoln and Les Mis. Both men will be nominated because they deserve to be and I predict that Jackman will win. One tweet said that it was the “precision of DDL against emotionalism of Jackman”. In this year, in this world to borrow from another musical – “You’ve Gotta Have Heart”.
Jamie(Quote) (Reply)
Mikael
November 24, 2012 at 10:06 am
Intersting to think that something around FIVE films this year may receive TRIPLE ACTING NODS – Would that really pe possible!?
Yayyy I´m really glad for Anne Hathaway – she´s no disappointment, so it appears (and sounds!!!)
And honestly… I think that Best Adapted Screenplay – for Lincoln – is quite enough. I hope to see Les Miserables soon!
Mikael(Quote) (Reply)
penny
November 24, 2012 at 10:21 am
Clayton, I am happy you enjoyed Les Miserables. This is one of my most anticipated films of this year. I know you were not a fan of Anne Hathaway’s Catwoman in TDKR, but I feel it was her best performance since Rachel Getting Married. Anne’s TDKR performance and Emily Blunt’s impressive performance in the underwhelming, ” Looper “, are easily some of my favorite female acting turns this year. I hope Hathaway continues to show her range and versatility. She is the real deal.
I read that Eddie Redmayne screen tested for a role in the next Spiderman movie. Hopefully, with all his great Les Mis reviews , this will help him win the role. This guy is one of the few young movie actors that can actually act on stage, and he deserves a big time film career.
penny(Quote) (Reply)
Mikael
November 24, 2012 at 10:30 am
By the way… I find it totally hilarious that Amanda Seyfried is still being called a “promise” by some critics – that what I´ve been reading in other reviews… She´s been a promise now for what – almost 10 years?
Mikael(Quote) (Reply)
Mark Johnson
November 24, 2012 at 10:38 am
The race just intensified tenfold! Can’t wait to see this!!
Mark Johnson(Quote) (Reply)
Josh P.
November 24, 2012 at 11:32 am
That’s a very select group in which there are winners of multiple Best Director Oscars, and even though we may have another shot with Spielberg and Ang Lee in there, I just can’t see Hooper doing that again, especially with “The King’s Speech” only being two years ago. Personal bias aside, that’s not a lot of time, and the memory of David Fincher might come back (or not, who really knows these things anyway). I’m glad you enjoyed it so much, Clayton, and I’ll be eager to check it out. I don’t know if we’ll agree on the movie, since you also thought “The Artist” was the best film of 2011 and I did not, but still good to hear you think the movie has some merit.
Josh P.(Quote) (Reply)
Rick
December 8, 2012 at 2:31 pm
This is going to be an epic race to the finish. Lots of genuinely worthy films are lining up for the big prize this year. I hope Les Misérables can prevail despite what is turning out to be a “mixed” affair with critics. I absolutely cannot wait to see this movie….
Rick(Quote) (Reply)
koook160 (Robert MacFarlane)
December 8, 2012 at 6:44 pm
“…it’s the best stage musical adaptation since Rob Marshall’s Chicago (2002). ”
Well THAT isn’t good, considering the mediocre quality of Chicago.
koook160 (Robert MacFarlane)(Quote) (Reply)
Henry
December 8, 2012 at 7:48 pm
Two questions. One, how exactly brief is Anne Hathaway in the film? Are we talking little of about fifteen minutes. I haven’t seen the Broadway play – so I have no idea, literally.
Also, when you mention such a competitive category of the lead actor – isn’t it a bit obvious now that Hugh Jackman is perhaps a shoo-in for a nomination, Mr. Davis?
The category is slowly aching. Though Daniel Day-Lewis stands poised, you have contenders like Bradley Cooper, Joaquin Phoenix, and Hugh Jackman. Denzel Washington is slipping unless a boost can come in, and John Hawkes is almost dead in the water. Is it really that filled up after all? Highly unlikely.
Henry(Quote) (Reply)
Calvin
December 8, 2012 at 8:13 pm
Anne Hathaway shows up for about 20 minutes. Judi Dench won for 9 in Shakespeare in Love.
Calvin(Quote) (Reply)
Henry
December 9, 2012 at 4:37 pm
Beatrice Straight won for five minutes. I guess they really love big impressions in short amount of time.
Henry(Quote) (Reply)
Calvin
December 9, 2012 at 5:59 pm
Indeed, and it seems that Hermione Baddeley was nominated for 2 minutes and 20 seconds. She lost
Calvin(Quote) (Reply)
Max
December 8, 2012 at 9:45 pm
I’m sorry but I’m going to have to take back what I said about Les Miz chances of winning BP. They seem to have dwindled massively since the review embargo was broken. The negative reviews are pouring in at an alarming rate. It will instead be between Lincoln and Zero Dark Thirty, the latecomer which seems set to be the critical darling of the year.
Max(Quote) (Reply)
Jamie
December 9, 2012 at 8:39 am
Actually once the embargo broke, the great reviews started coming in. It is the whining Hooper haters who are fueling the negatives. They are fighting the TSN TKS war all over again rather than seeing Les Miserables for the amazing musical it truly is. But when you are in a war, collateral damage happens. Why let talent and creativity get in the way of your hatred.
Jamie(Quote) (Reply)
George
December 8, 2012 at 9:46 pm
I drink your Kool-aid! I drink it up!!!!
George(Quote) (Reply)