In 19th-century France, Jean Valjean, who for decades has been hunted by the ruthless policeman Javert after breaking parole, agrees to care for a factory worker's daughter. The decision changes their lives forever.
A fictitious love story loosely inspired by the lives of Danish artists Lili Elbe and Gerda Wegener. Lili and Gerda's marriage and work evolve as they navigate Lili's groundbreaking journey as a transgender pioneer.
After a stint in a mental institution, former teacher Pat Solitano moves back in with his parents and tries to reconcile with his ex-wife. Things get more challenging when Pat meets Tiffany, a mysterious girl with problems of her own.
David O. Russell
Robert De Niro
Television adaptation of Victor Hugo's classic novel, which follows Jean Valjean as he evades capture by the unyielding Inspector Javert. Set against a backdrop of post-Napoleonic France as unrest begins to grip the city of Paris once more.
Jean Valjean, known as Prisoner 24601, is released from prison and breaks parole to create a new life for himself while evading the grip of the persistent Inspector Javert. Set in post-revolutionary France, the story reaches resolution against the background of the June Rebellion.Written by
In an interview on Conan, Amanda Seyfried told Conan O'Brien that she had fainted on set. She said that when she awoke, Russell Crowe (Javert) was holding her feet and Hugh Jackman (Jean Valjean) was rubbing her shoulders. She then proceeded to tell Conan, "I could to that again." See more »
When we first see Enjolras speaking before the crowd during "Look Down", he and Marius are holding pamphlets in their hands. When Enjolras sings his line "Where is the king who runs this show?", he raises his hand above his head and the camera does a quick cut for a close up -- revealing that the pamphlet has vanished from his hands. See more »
Look down, look down, don't look them in the eye.
Look down, look down, you're here until you die.
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"The Director would like to thank his parents Meredith and Richard Hooper, Rachel Hooper, Ben Hooper and Roger Mortimer for introducing him to musicals." See more »
It should be said that while I do enjoy the occasional musical, I'm not really one to seek them out as they tend not to be naturally my thing; indeed my favorite musical is the South Park film, mainly because it manages to have its genre cake and mock it at the same time. So it took me a few minutes to get into the big chorus, singing dialogue thing here but early on I did. To speak of the first hour I had characters I engaged with, songs that mostly are memorable (although the singing is variable) and generally plenty of spectacle and flair in the delivery. The first hour of the film is by far the strongest and it contains a lot of the most emotionally moving aspects.
Much has been said about Hathaway and, sort of as a result I wasn't sure how much of it was hype for awards and how much of it was real, but she really is very good throughout her section. The highlight is of course I Dream a Dream, but her whole performance is emotionally charged but yet fragile at the same time. Problem is that with this and other strengths in the first hour, the rest of the film has a lot to live up to and, mostly, it doesn't really manage it. It runs to almost 3 hours and it really does feel long but weirdly at the same time it also feels rushed. It is hard to describe but the amount of story to be told seems too much to really fit in and do it well. As a result it never grabbed me quite as much as it had in that first hour; I still enjoyed it for its flair and spectacle but it felt like that is what I was watching, rather than characters or a story.
Beyond Hathaway the cast are not quite as strong. Jackman does well but not amazing; Seyfried is okay while Redmanye, Barks, Tveit and others are solid. Baron Cohen and Bonham Carter both overplay it but are amusing. The only real weak link is Crowe and it is a shame because he actually fits his character very well, it is just the fact that his singing voice is strained that poses a problem – but it is a big problem when you're making a musical. The production values are tremendously high, with great sets, great costumes and around these Hooper gives us some great set-pieces – with the downside of this being that it all seems so surface that it highlights the increasingly lack of much else going on elsewhere.
The film still is worth a look for this, but it is a shame that it peaks so early and only seems to slip away from there. It manages to feel overlong while also feeling rushed and needing more time; perhaps me not naturally being drawn to musicals was part of the issue, but it is a flawed but expensive film.
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