Comisserating with Les Miserable

I read a review of Les Miz from a major daily yesterday... I scoffed at it! Obviously there is some sort of "generation loss" that happens when a musicale is transposed into a medium like film. Some elements are lost and some are gained in the process of turning a long running and critically acclaimed piece like Les Miz when it is converted into a cinematic work.

I therefore, decided to view the film and see for myself whether Les Miz was worth all the Oscar buzz that it's getting. IT IS! 

image from Buzzsugar.com

It's a pity that some reviewers overlook the fact that cinema is a more intimate medium as actors are blown up on a larger-than-life scale on screen. And since it is essentially a "canned" performance, the energy and excitement of opening night is completely lost on the audience. You do not have the palpable vitality as though you were watching live theater. But the film version succeeds in conveying the pathos and the abject misery that the book and the musicale wants to impart on its audiences.

The songs and the music have already gained a massive following among theater goers here and abroad. Even Lea Salonga who has performed in it used "On my Own" as her audition piece for Ms Saigon ( for which she won a Tony as Kim). In the movie version, the actors have literally transformed themselves into the characters they portray. Both Anne Hathaway (Fantine) and Hugh Jackman (Jean Valjean) have even gone on a strict regimen to lose weight for their roles. I for one, did not even recognize Jackman at the start of the movie. Such dedication! No wonder he got a Golden Globe for his portrayal.

The singing was not like you would witness it onstage. Naturally, these actors have had some considerable amount of vocal coaching. Some have criticized the music for being captured raw and would have wished the  soundtrack to have been "sweetened" meaning edited with digital enhancements. Russel Crowe, poor actor,  has received much chiding as having the weakest voice in the whole ensemble. But even Russel Crowe's portrayal of Javert does not escape notice. His voice though, not as full and forceful as Jackman's does its bit in conveying his hatred and dedication to duty through emotion. His constant series of scenes atop ledges and  dizzying parapets serve as foreshadowing of his ultimate fate.

Now that we've touched up on the subject of emotion. Anne Hathaway deserves an Oscar for her portrayal of Fantine. True, compared to Salonga and Paige , Hathaway's voice does not hold a torch to these actresses who are gifted with golden voices. However, Anne Hathaway imbues her signature song of "I Dreamed A Dream" with so much sorrow and regret you don't mind  if she falters on some notes for effect. Her commendable is singing, though, as she does reach the high notes with tears rolling down her pretty cheeks.

Amanda Seyfried was a revelation as Cosette. I first saw her on Mama Mia! and she could really sing (it was an Abba musical review anyway). Her voice was crystal clear and at some points in their counterpoint her  her head tones and falsettos rang like a tuning fork. The same thing is true for Sasha Baron Cohen and Helena Bonham Carter as the Thernadiers. What a gem they were as the conniving couple acting as both comic relief and  main foil. Their rendition of "Master of the House" would bring the house down any day. Both Carter and Cohen have been known to play quirky characters. Their being cast was a perfect choice for the film. Another brilliant actress, though virtually unknown, was the one who played Eponine. You feel for her misfortune as their fortunes are reversed. Cosette having become the object of Marius' affection and her good fortune as Valjean's ward, Eponine sings "On My Own" drenched in the rain as she wanders off nursing unrequited love.

All in all the ensemble delivers the stirring choruses particularly in the ending when they gather together for Valjean's redemption. Speaking of Valjean, Jackman has the burden of of carrying the film althroughout. He deserves his best actor trophy. His tenor carries up the higher registers of the songs especially when he sings "Who Am I?".  Points go to the cinematographer for cinematic angles that seem off but are effective in subliminal messages. When Jackman renders "Bring Him Home", his teary-eyed version shows Jackman with an image of the all-seeing-eye in the background seemingly saying that Valjean's prayer is heard by the higher powers.

Why shouldn't you watch Les Miserable, the movie? It's worth every cent i paid for the admission ticket...