Taking us on a journey back to 19th century France, and in the run up to the June Rebellion in Paris, is the film adaptation of Les Misérables. This particular version is primarily adapted from the popular West End musical production (which is in turn adapted from the novel by Victor Hugo - confused yet?). Les Misérables is directed by Tom Hooper and features what can only be described as a ‘show stopping’ cast. Set in France, it follows the journey of Jean Valjean, (Hugh Jackman) a convict who is released from prison on parole by Javert (Russell Crowe) and after breaking parole, Valjean sets off seeking a better and more honest life. Eight years later and Valjean is now Mayor and owns a factory, which is where we meet other characters such as Fantine, (Anne Hathaway) who works in the factory, and learn of her suffering child Cosette, (younger version portrayed by Isabelle Allen and older version by Amanda Seyfried) who resides with the treacherous and swindling innkeepers the Thénardiers (played by Helena Bonham Carter and Sacha Baron Cohen). Also featuring in the film - Eddie Redmayne, who portrays Marius - Cosette’s love interest, and Éponine, the Thénardiers daughter who secretly pines after Marius’ affections.
What is clearly the driving force of this production are the memorable and beautifully envisioned performances from all the actors involved. Hugh Jackman, in his leading role as Jean Valjean, is able to captivate the audience’s attention, connecting viewers to the core nature of his character as a convict who is trying to lead a better life, but is struggling to escape the demons of his past, and in particular, the officer who knows him from that time. Russell Crowe provides a key counterpart to Jackman’s Valjean in that of Javert, a police officer who effectively has dedicated his entire existence to once again imprisoning Valjean. This tense relationship between two men who have ‘known’ each other for a long period of time, with one trying to escape and the other pursue, is portrayed cleverly by both Jackman and Crowe, and the audience are truly enthralled by the ‘cat and mouse game’ that the two men have found themselves in. This can be no more epitomized by the song ‘Confrontation’ in which the two characters sing jointly and passionately. It is the above song in which the two actors are able to fully emulate the dedication and desperation of their characters, whose paths continually entwine, causing conflict for everyone around. The score is suitably tense and Jackman and Crowe really provide some of the best thrilling, heart-stopping and climactic moments of the film when their two characters meet again.
For those who usually find themselves untouched by overtly emotional scenes in a film (ie. you don't tend to get weepy), you may have found your kryptonite in the form of Anne Hathaway. Her performance of the distressed factory worker Fantine, (especially during her rendition of ‘I dreamed a dream’) is inspired, and you can see the dedication she has with the role. Hathaway is able to capture the raw emotion of the character, which is particularly hard to do; it is almost like she was born to play that part. She really made it her own, and once again, especially during her rendition of the afore mentioned song, the true grit and hope of her character is echoed through her voice whilst she breathes heavily and tears cascade down her face. The performance is truly memorable, and although she features (all too briefly) in the first half of the film, you find yourself watching the rest of it, still engulfed in the drama and emotive performance of the character before. You may need to shake and remind yourself that you still have the rest of the film to watch.
If you're looky for a 'happy' moment of relief, then you can be sure to find it with the arrival of the wacky and deliciously deceitful Thénardiers. One of the very few humorous moments of what is a very tragic film was really brought to life by Sacha Baron Cohen and Helena Bonham-Carter.Their rendition of ‘Master of the House’ is hilarious, and provides a comical reprieve to the dramatic events of before. It seems awfully fitting that Hooper chose to cast the roles of the dastardly and always entertaining crooks to Baron Cohen and Bonham Carter, as they are able to portray the characters swindling ways with such finesse that it almost appears second nature to them, which makes you wonder whether anyone else would have truly been able to capture the characters sense of immorality as well as them. One things for sure, if you happen to find yourself watching a scene with Bonham Carter and Baron Cohen as the Thénardiers, you are sure to be treated to the very few genuinely funny moments of the film and the more lighter hearted ones. The level of conviction of which Bonham Carter delivers her lines in retaliation to Baron Cohen is so straight-faced, dry and utterly convincing, you find yourself wondering whether the two have been married for years. Baron Cohen is equally as magnificent in his role and his lack of empathy, care or even attention to the details is truly one of the most entertaining moments – after all, Colette, Courgette and Cosette are so similar, right? This over the top drama and deceit from the two ‘love them and hate them’ characters is a wonderful combination of over the top and absurdly amusing which has the audience clinging onto the lighter and more humorous moments while they can.
The other three main actors all give particularly poignant and unforgettable performances, especially Samantha Barks who portrays older Éponine, a self-loathing girl who holds an unrequited love for Marius, (Redmayne) a revolutionary who is in love with an older Cosette (played by Amanda Seyfried). Barks, who has played Éponine before in the 25th Anniversary concert in the West End, is able to convey the similarities and difference between the feature film’s Éponine and the novel’s. Barks’ rendition of ‘On my own’ is thoroughly moving and heart breaking, as she sings solemnly in the rain about her love for a man who does not return the same affections she has for him. Redmayne and Seyfried portray beacons of light and love in a highly tragic film, and all three actors in ‘In my life/ a heart full of love’ represent the complex relationships between the three characters beautifully.
In contribution to the stunning performances given by the entire cast, the overall sense of the film is that of spectacle; an epic adaptation to the novel, which has the ability to combine dramatic special effects and celestially envisaged scenery shots, which truly capture the hardships facing the citizens and revolutionaries at the time.
Possibly, and rather ironically, one of the few faults with the film lies within its actual construction. Granted, it's an adaptation of a musical, so you expect some singing and the like, but this is borderline neurotic. It does start to grate after a while, and there are a few moments that you can't help but think would have sounded better and added to the cinematic feel, if they were simply said, and not 'sung'. Having said this, this is of no fault of the actors and is more of a fault of whomever decided that the whole piece would be sung (even the stage version doesn't do this). Unfortunately, this detracts attention away from what could have been a formidable film, all round. However, Hooper's Les Misérables is fortunately carried by the excellent performances of its cast. So, if you have a few hours spare, you should make time for this adaptation, if only to witness a master-class in acting.
4/5 stars 
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