Movie with Abe: Les Misérables

Les Misérables
Directed by Ladj Ly
To Be Released January 10, 2020

A title can set expectations for a film, or at least color what the audience may take away from the experience that wouldn’t otherwise be part of it. Some films and television shows have famously been marketed with poor or problematic titles, either because they’re not accurate in describing the content or because they’re simply too long, like “Cougar Town” or “Three Billboards Outside Ebbing, Missouri.” And then there are times when the title is selected to purposely reference a known work and transport audience members to a certain mindset that offers considerable additional commentary and context for what they are watching.

Stéphane (Damien Bonnard) arrives in the suburb Montfermeil in Paris to join the anti-crime squad, which includes Gwada (Djebril Zonga) and leader Chris (Alexis Manenti), who embraces the nickname of “Pink Pig” that he has been given by kids in the neighborhood. As they patrol the streets, Stéphane begins to see problematic behavior from his colleagues as they use force and intimidation to keep those who haven’t necessarily done anything wrong in line. When the violent members of a traveling circus discover that their prized lion cub has been taken, the squad sets out to find the thief and return the cub before things truly get out of control, an inevitability that they won’t be able to prevent and instead only serve to fuel.

Early on in the film, Stéphane correctly identifies Montfermeil as a key location in Victor Hugo’s 1862 novel that shares the title of this project. That comparison is not lost in this modern-day take on the disparity between the police who have all the power and the people whose rights are far from secure. Yet there’s just as much complexity to be found and analyzed, particularly as the target of the squad’s pursuit, a young boy named Issa (Issa Perica), expresses no remorse for any of his crimes, and his community moves to instinctively protect him, fully aware that he may have done something wrong.

This is a deeply relevant film for today, one that examines ideas of police brutality, criminal consequences, and poverty. Coming from a country like France paints a very different picture than in the United States, where the same issues are prevalent. Seeing it in a removed setting demonstrates the similarities that exist while maintaining a distinctly French perspective. The performances from the adult and child actors are very strong, and the cinematography by Julien Poupard manages to convey the gradual escalation to chaos that anchors some of the film’s best scenes. This may not be as revolutionary as the novel that shares its name, but it does offer a blistering and enthralling critique of society as it currently stands.

B+

Movie with Abe: Les Miserables

Les Miserables
Directed by Tom Hooper
Released December 25, 2012

It’s always an adventure to see a musical adapted from the stage for the big screen. The two media provide vastly different opportunities, and writers and directors are bound to make a significant change or two that will have diehard fans of the original material dissecting its legitimacy. Tom Hooper’s cinematic version of the classic story of reformed thief Jean Valjean in 19th-century France is a spectacle if nothing else, capable of achieving greatness but not entirely consistent throughout its lengthy 157-minute run, boasting several powerful numbers and going out on a high note after a long and winding road to its grand finale.

The cast of “Les Miserables” is crowded and populated by a handful of actors not known for their singing abilities. That results in an occasionally detached feel when characters are singing dramatic solo numbers since the actors, namely Hugh Jackman as Valjean and Russell Crowe as his police pursuer, Javert, aren’t capable of effectively commanding a musical moment. Anne Hathaway, who plays the doomed Fantine, and newcomer Samantha Barks, who portrays the lonely Eponine, on the other hand, knock their individual numbers out of the park, pouring their souls into their emotional renditions of “I Dreamed a Dream” and “On My Own,” respectively. The film succeeds much more in its ensemble numbers, most of which come in its second and third acts.

While its singers may not all be excellent, it’s impossible to deny the majesty of the production values in “Les Miserables.” Poverty in France has never looked more colorful, and the costumes are magnificent. Each scene is well-decorated, and the ability to use many backgrounds without having to transition a stage set proves extremely advantageous. The cinematography by Danny Cohen, who last worked with Hooper on “The King’s Speech,” however, is distracting, in its frequent attempts to be stylized and to showcase the film’s events with wide lenses that capture a more complete picture of each scene rather than let the characters and dialogue speak for themselves.

Hooper’s fingerprints on “Les Miserables” are easily recognizable, particularly in comparison with his previous film. All scenes are far from subtle, accentuating characters and giving them a spotlight for their designated moments. The transition to the big screen from the stage is sometimes awkward, as extended pauses after musical numbers often feel like they should be filled by applause, and the ensemble isn’t quite sure of what to do next. That said, the film truly takes shape once revolutionary sentiments are underway, and it ends with such triumphant gusto that it’s hard not to forgive the film a few of its faults.

B

Tuesday’s Top Trailer: Les Misérables

Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.

Les Misérables – Opening December 14, 2012

Like “The Great Gatsby” last week, we have an extraordinarily vivid and colorful rendition of a classic story being brought to the screen just as awards season is really getting going and sure to garner plenty of acclaim. After proving on Broadway and during awards shows that he is immensely capable of singing and dancing, Jackman gets his first major musical role here as Jean Valjean, constantly running from the clutches of Javert, played by Russell Crowe, who could use a good part in a film these days since it’s been a long time since he was on top. Anne Hathaway, Amanda Seyfried, and Helena Bonham Carter comprise the main female cast, and they’re all sure to be terrific. This is an exceptionally dramatic tale, and this looks like a fitting screen representation, full of gorgeous scenery and abundant costumes. Even if this isn’t the most excellent film, it’s an event, and a musical one that’s sure to be on par with the last decade’s most memorable musicals, like “Chicago” and “Sweeney Todd,” probably more like the latter since the stories are more similar. Directing this particular feature is Tom Hooper, an Oscar winner last year for helming “The King’s Speech” and an appropriate dose of awards bait to ensure that this one gets taken seriously. I think it looks fantastic.