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I personally liked the close-ups, whether there were too many is up for debate and I can definitely see why, but they did succeed in giving numbers like Empty Chairs and Empty Tables, On My Own, Stars(visually resplendent in its simplicity), Bring Him Home and especially I Dreamed a Dream a very personal touch.
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The costumes, locations and sets are both stunning(some of the best of the entire year for me) and evocative(complete with grubby faces and rotting teeth, Fantine's plight is very seedy and nightmarish which makes you relate to her without being forced to). Apart from some of the camera angles, I thought Les Miserables was stunning to look at.
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But I found it a simply splendid film on its own merits as well as a solid adaptation of both the musical and the book.
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#LOOK DOWN LES MISERABLES FULL MOVIE MOVIE#
I wouldn't go as far to say that this movie version is completely flawless, there are occasions where the camera angles are a little dizzying and Russell Crowe has an underpowered and nasal timbre that doesn't really appeal to me(it also has a soft-grained rock-opera style that is at odds with the rest of the singing). I love the musical, it is not the most accessible of musicals- it is lengthy and feels very like an opera(a genre that I adore but can see why others don't)- but it never fails to give me goosebumps or move me and the music is just incredible. I'm not sure how long it will take for "Les Misérables" to recoup its investment cash- wise, but it's going to win award after award and rightly so.ĭespite the somewhat mixed reviews, I really wanted to see Les Miserables. If Crowe and especially Jackman are excellent, Hathaway - who lost 25 pounds and most of her hair for the role - is outstanding as the destitute Fantine and Cohen and Carter almost steal the show as the comical Thénardier innkeepers. There follows over two and half hours with barely a spoken word which will not appeal to all cinema-goers, but the production is a triumph with Cameron Mackintosh's musical opened up by dramatic shooting on Pinewood's brand new Richard Attenborough stage and some historic English locations. The two main characters are presented in the opening seconds of a sweeping introductory sequence: the police inspector Javert (Crowe) and the prisoner 24601 Jean Valjean (Jackman) in post-revolutionary France. The showing was introduced by producer Eric Fellner of Working Title who underlined the commercial challenge of making a film in which all the dialogue is sung and the themes are so political and praised director Tom Hooper ("The King's Speech") for his insistence that every take was sung live. Nevertheless I was happy to take the opportunity of a private viewing of "Les Misérables" at the London office of distributors Universal - the day after the London première and a month before the UK release - because of the outstanding success of the original stage show (a run of 27 years with a total audience of over 60 million) and the surprising and impressive cast list (Russell Crowe, Hugh Jackman, Anne Hathaway, Sacha Baron Cohen, Helena Bonham Carter, Amanda Seyfried and Eddie Redmayne). As a massive film fan, my tastes are very wide-ranging, but I do have a problem with musicals.
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