An Interloper Offers Weekend Film Commentary: Les Miserables

Based on its vivid colors and exaggerated gestures, one is tempted to dismiss Academy Award Best Picture nominee Les Miserables as a cartoon. But cartoons have clarity of line and a sense of direction, not to mention momentum from frame to frame. This movie is more like the result of dropping the Sunday funnies in a mud-puddle: smeared with detritus and coming apart at the seams.

Start with the source. The musical itself, though much beloved by aficionados of Glee and Smash, takes Victor Hugo’s outraged critique of post-revolutionary France and turns it into a parade. While purporting to address the depredations and degradations of poverty, Cameron Mackintosh’s production was staged so elaborately that it depended on $150 tickets to keep it running. Thus there was the awkward matter of cheering gaunt poor people on the barricades from plush seats in the orchestra.

Happily even overpriced movies like this one cost only $10 or so to see, reducing the contradiction between medium and message. But director Tom Hooper (The King’s Speech) and his collaborators have replaced that one difficulty with a raft of their own: frying pan, meet fire.

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