This intelligent, handsomely crafted adaptation of Victor Hugo's classic novel condenses the story's developments without blunting its emotional impact.
This intelligent, handsomely crafted adaptation of Victor Hugo's classic novel condenses the story's developments without blunting its emotional impact.
Bille August directed this Rafael Yglesias adaptation of the 1862 classic by Victor Hugo (1802-1885) about the quest of Inspector Javert to capture escaped convict Jean Valjean, originally an honest man who was jailed for stealing a single loaf of bread to feed the family of his starving sister. This new interpretation of Hugo's epic begins with Valjean (Liam Neeson), released after 20 years of cruelties and hard labor, reporting for parole in Dijon. Stopping at a bishop's house, he's treated
with respect, but even so, he steals silverware, flees, and is captured. However, the bishop says the silverware was a gift, proving Valjean's innocence by giving him two silver candlesticks. Valjean is free, but the bishop asks him to treat others with equal kindness. By 1822, Valjean has risen to mayor of the village of Vigau, where he also maintains a successful factory. Joining the local police, Inspector Javert (Geoffrey Rush) is suspicious of Valjean's identity and eventually recognizes him as a former convict, but Javert has no proof when he carries his accusations to Paris. Valjean develops a relationship with Fantine (Uma Thurman), who lost her factory job because of local attitudes about her illegitimate daughter. The starving Fantine turns to prostitution, is arrested and tortured by Javert, and becomes ill. As she dies, Valjean promises to raise her daughter Cosette. Focusing on Valjean's life with Cosette (Claire Danes), the story is set amid the action of the July 1832 Revolution, a time when Cosette falls in love with a militant student, Marius (Hans Matheson). On the banks of the Seine, Valjean and Javert have their final confrontation. ~ Bhob Stewart, Rovi
The movie's whole virtuous conception of Jean Valjean sticks in my craw. He's haunted and hunted, but he reeks of a reasoned, noble superiority that's a pretty sterile quality in the hero of an epic.
With a first-rate cast and a venerable storytelling style, it fluently condenses Victor Hugo's epic novel and retrieves some of its suspenseful momentum.
Towering over the entire film is Liam Neeson, the Irish actor who seems at home in any kind of picture, whether it transpires in contemporary America, World War II Germany, or centuries-ago Scotland.
It contains the moments of high drama, clearly outlines all the motivations, is easy to follow and lacks only passion. A story filled with outrage and idealism becomes somehow merely picturesque.
Victor Hugo's great novel Les Miserables has been translated to screen at least five times before. Leave it to Liam Neeson to make a sixth seem indispensable.
August's film won't make you forget the musical or the many previous movie versions, but an entertaining, stirring version of Hugo's tale of social justice is always welcome.
August never manages to build any real momentum or urgency to pull the story along -- it's more like he wades through it, moving from one set-piece to the next with deliberate care.
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