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Die Elenden

Originaltitel: Les Misérables
  • 1935
  • Approved
  • 1 Std. 48 Min.
IMDb-BEWERTUNG
7,6/10
4113
IHRE BEWERTUNG
Charles Laughton and Fredric March in Die Elenden (1935)
Zeitraum: DramaDramaGeschichteRomanze

Füge eine Handlung in deiner Sprache hinzuIn early 19th century France, an ex-convict who failed to report for parole is relentlessly pursued over a 20-year period by an obsessive police inspector.In early 19th century France, an ex-convict who failed to report for parole is relentlessly pursued over a 20-year period by an obsessive police inspector.In early 19th century France, an ex-convict who failed to report for parole is relentlessly pursued over a 20-year period by an obsessive police inspector.

  • Regie
    • Richard Boleslawski
  • Drehbuch
    • Victor Hugo
    • W.P. Lipscomb
  • Hauptbesetzung
    • Fredric March
    • Charles Laughton
    • Cedric Hardwicke
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,6/10
    4113
    IHRE BEWERTUNG
    • Regie
      • Richard Boleslawski
    • Drehbuch
      • Victor Hugo
      • W.P. Lipscomb
    • Hauptbesetzung
      • Fredric March
      • Charles Laughton
      • Cedric Hardwicke
    • 45Benutzerrezensionen
    • 17Kritische Rezensionen
  • Siehe Produktionsinformationen bei IMDbPro
  • Siehe Produktionsinformationen bei IMDbPro
    • Für 4 Oscars nominiert
      • 4 Gewinne & 4 Nominierungen insgesamt

    Fotos177

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    Topbesetzung99+

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    Fredric March
    Fredric March
    • Jean Valjean…
    Charles Laughton
    Charles Laughton
    • Inspector Emile Javert
    Cedric Hardwicke
    Cedric Hardwicke
    • Bishop Bienvenue
    • (as Sir Cedric Hardwicke)
    Rochelle Hudson
    Rochelle Hudson
    • Cosette
    Frances Drake
    Frances Drake
    • Eponine
    John Beal
    John Beal
    • Marius
    Florence Eldridge
    Florence Eldridge
    • Fantine
    Jessie Ralph
    Jessie Ralph
    • Madame Magloire
    Mary Forbes
    Mary Forbes
    • Mlle. Baptiseme
    Florence Roberts
    Florence Roberts
    • Toussaint
    Jane Kerr
    • Madame Thenardier
    Ferdinand Gottschalk
    Ferdinand Gottschalk
    • Thenardier
    Charles Haefeli
    • Brevet
    Marilyn Knowlden
    Marilyn Knowlden
    • Little Cosette
    • (as Marilynne Knowlden)
    John Bleifer
    John Bleifer
    • Chenildieu
    Leonid Kinskey
    Leonid Kinskey
    • Genflou
    Harry Semels
    Harry Semels
    • Cochepaille
    Eily Malyon
    Eily Malyon
    • Mother Superior
    • Regie
      • Richard Boleslawski
    • Drehbuch
      • Victor Hugo
      • W.P. Lipscomb
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen45

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    dougdoepke

    Message to Javert-- "Get a Life".

    So stealing a loaf of bread gets you years in a squalid prison, rowing a galley with a thousand other poor souls that never goes anywhere. Some justice. And if you miss a parole appearance, you get a monomaniacal cop named Javert who has no life other than chasing you down. So, if you're like Val Jean, wouldn't you get mean and anti-social too. And when invited out of a storm by a priest, no less, it's only natural that Val Jean looks to steal what he can. But then, a funny thing happens. When the cops bring him back with the stolen goods, the priest gets him off the hook by saying the stolen candlesticks were a gift. It's an act of mercy, something the law has never shown him. Now Val Jean sees that life might be lived in a kinder, gentler way. And when he leaves and comes to the literal and figurative fork-in-the-road, he remembers the words of humane wisdom given him by the priest. Traveling in a new direction, he becomes the good man he has always been, waiting to be brought out. Now, if only he could get that merciless cop off his trail, life would be good.

    Fine dramatization of Hugo's great plea for social reform in 19th century France. I wonder what our own Depression era audiences saw in the story, given the oppressive conditions of the 1930's. March is compelling as the reborn Val Jean, while Laughton makes for an unforgettably quirky Javert. But I wonder too, what would change if the aristocratically handsome March played Javert, with the very unphotogenic Laughton as Val Jean. That would challenge our comfortable stereotypes and make for a more interesting and humane message. Then too it's unfortunate that someone in production felt the audience wouldn't get the spiritual message without being hit over the head with heavenly choirs and light beams from above. I guess that was done for box-office returns. But too often Hollywood has reduced the profound to the hokey, thereby corrupting the message and turning spirituality into a mere matter of stage craft. Nonetheless, the moral remains a telling one, as relevant now as it was 70 or even 170 years ago. Law exists only on paper, while justice—as they say—dwells in the human heart. It is not a truth Javert, the slavish servant of the state, can live with. Hugo was not only a great writer, but a very good man, as well.
    10critic-2

    The best American film version of the novel

    Although you would not think so from reading some of the reviews here, the 1935 film version of "Les Miserables" is excellent and one of the best film versions of the novel, especially considering its 108 minute length. It is too much to ask a film that lasts a little less than two hours to pack in all the important incidents in a book that consists of more than 1,000 pages. No film has ever been able to do that, and three-hour American films, except for a couple of D.W. Griffith features, were virtually unheard of before 1936 (the year that "The Great Ziegfeld" was released).

    Fredric March gives one of his finest performances as Jean Valjean---far better than Michael Rennie's pallid one in the 1952 remake-- and his voice reminds one not of Jimmy Stewart, but of John Barrymore, an actor to whom March was often compared to in his early days. Although he seems to be on the verge of overemoting once or twice, he can also be quite subtle and sardonic (just watch him in the scenes in which he implies that Javert has no idea of how to temper justice with mercy, or his performance in the scene in which he first meets Cosette at the inn). March, now virtually forgotten by today's younger generation, was easily one of the best actors of the twentieth century, whether on stage or screen, It is a pity that he never felt inclined to act in a Shakespeare play or film, a decision he himself came to regret.

    Charles Laughton is equally as good as the vicious, single-minded, and in this version at least, neurotic Inspector Javert. Laughton's small touches, far from making his performance seem hammy, vividly illustrate the personality of a man so ashamed of his own parentage that he cannot bear to talk about it without seeming to be about to break into tears. If it had not been for his brilliant Captain Bligh in "Mutiny on the Bounty", released the same year as "Les Miserables", Laughton would almost certainly have been nominated for his performance as Javert.

    John Beal and Rochelle Hudson are adequate as the lovers, although Beal is hardly anyone's idea of a sexy, dashing young man. Hudson's performance is infinitely preferable to the awful one given by the beautiful Debra Paget (best remembered as Joshua's love interest in "The Ten Commandments") in the 1952 remake of "Les Miserables". Eponine in this version is not portrayed as a prostitute, probably because of the censorship restrictions of that time, and Gavroche is completely eliminated from this version. Cedric Hardwicke, in a very small role, is fine if a little too syrupy, as the bishop who aids Valjean after he is released from prison.

    The legendary Gregg Toland's photography is excellent, and the scenes in which Valjean serves in the galleys are frighteningly realistic for a major Hollywood film of this era (the scene in which March is beaten and begins screaming in pain is profoundly disturbing, and it recurrs later on in a nightmare).

    The 1935 "Les Miserables" easily eclipses all later versions in English, and still stands as one of the best Hollywood versions of a literary masterpiece.
    Michael_Elliott

    Great Performances from Two Legends

    Les misérables (1935)

    **** (out of 4)

    Exceptional version of Victor Hugo's classic novel about Jean Valjean (Fredric March), a man made a criminal by circumstances but paying for the crime only to then be hounded by an Inspector (Charles Laughton) without any sense of goodness or justice. The mammoth novel doesn't get the page-by-page treatment but the screenplay does both the novel justice as well as the characters. This novel has been filmed countless times over the decades and many of the versions run four and five hours but this one here clocks in at just 108-minutes so many of the subplots and various other items are naturally missing. I never compare the book to the film so there's really nothing to be said between them but this movie certainly deserves its classic label for many reasons including two masterful performances from a couple of legends. The screenplay perfectly captures the heart, mood and soul of the novel but its the actors that really bring it to life as both March and Laughton deliver extremely strong performances, which rank among the best I've seen from the men and that's saying quite a lot considering how many great roles they've had. Laughton really got under my skin in a good way as I can't say how many times I wanted to jump through my screen and do bodily harm to him. The character is certainly one of the most known and hated villains in history and I'm sure most actors would have just let the character do all the work but Laughton takes this rather evil man and makes him a real cold snake without any emotions. The way Laughton constantly hounds March and that evil glance in his eye that just makes you feel the coldness is perfectly done. Laughton would gain sympathy in a few years playing the Hunchback from Hugo's novel so it's rather amazing to see him play and perfectly capture the other side of the human nature. March too is perfect in his role as I'm sure a role like this is pure heaven for an actor considering how many emotions and various ranges they have to go through. Needless to say, March perfectly nails all of them whether it's the man begging for pity at the start of the film or the man finally worn down and ready for his justice. When the two are on screen together they play wonderfully well off of one another and really deliver some great scenes. Cedric Hardwicke, Rochelle Hudson and Florence Eldridge add nice support and look quickly for John Carradine in an early role. Fans of the novel will certainly want to check this film out but even if you're not familiar with the work you'll still find yourself really eating everything up here. The two legends make this a must-see for fans of classic cinema.
    9mstomaso

    Justice vs. the Law

    Jean Valjean (Frederick March) steals a loaf of bread to feed his sister's children and is sent to prison for ten years. Prison degrades him and he completes his term a broken and, possibly insane, man. While in prison, one of the guards, Javert (Charles Laughton), takes note of Val jean's remarkable strength. Javert is more obviously unstable - he is obsessed with the rigid enforcement of the law, in denial of his past (his parents were criminals. Confused, depressed, and very fearful, Valjean ventures into his parole with questionable intentions. But he is soon taken in by a very kindly Bishop who bends the truth in order to protect Jean from himself and the police. Explaining himself, the priest tells Jean that 'Life is to give, not to take'. This single act, and the priest's words, set Valjean upon a path of service and honor which requires him to reinvent himself. In Act 2, we meet him in the person of Mssr. Madeline, a successful and well-loved businessman who is being asked to run for mayor in the small town he has done so much for. Complicating matters, Javert has been appointed to head the local constabulary.

    Through all three parts of this epic story, Valjean is pursued by his former captor, whether by circumstance or obsessive intent. This is the central conflict of the story, but the depth and elements of the conflict truly hinge upon a non-participant third-party. Valjean/Madeline meets Cosette, a good-hearted but more-or-less orphan child whose plight reminds him of his sister's children and deeply touches his heart. He reunites Cosette and her mother, giving them both a good home for the mother's final weeks. After she passes, he essentially adopts Cosette. The love that develops between Cosette and Jean, that of a father and daughter, saves them both. Perhaps this love will eventually save the incorrigible and obsessed Javert.

    Les Miserables is written with extremely powerful characterization, from a deeply Catholic/Christian perspective, though it is not an evangelical work. Although none of the characters are stereotypes, archetypes, or caricatures, the central conflict is not one of men, but rather one of faith. Javert perfectly represents faith in the laws of men, the Bishop reflects the laws of his god, and Valjean must resolve the inevitable conflicts between the two both internally and externally. The ethics of Les Miserables is, in contrast to the opinion of one popular review, far from 'situational.' It would be much better described as 'subtle', complex, and very carefully considered. The simple message is that law is no substitute for justice.

    Victor Hugo's Les Miserables is probably my favorite novel of all time. While leaving whole episodes of this massive tome out, the unfortunately short-lived Richard Boleslawski's 1935 film captures more than just the essence and spirit of the book and is not a Reader's Digest condensation or a "Cliff Notes" version. The W.P. Lipscomb script is perfectly economical and Boleslawski wisely relied on Gregg Tolland's spectacular camera work to tell more of the story than the dialog. Despite the difficulty of distilling a 1000+ page, relatively dense French novel into a film of slightly over 1.5 hours, the director made the camera responsible for conveying a great deal of information about the story and the characters . The casting is also quite perfect. March and Laughton are tremendous in what may be the apex of their collaborative efforts. I was also impressed by the performances in a few of the minor roles - Cedric Hardwicke (the Bishop) and Frances Drake (Eponine) especially.

    All considered, this film should appeal to those who appreciate mature, intelligent, morality plays spiced up with a bit of adventure, and those who are looking for a good film version of the classic novel.
    didi-5

    excellent adaptation from the novel

    This adaptation from the famed Victor Hugo novel came to the screen at the end of Twentieth Century's existence as a separate film company before joining with Fox Films. Starring Fredric March as Valjean and Charles Laughton as Javert, it would be worth watching just for those two, who are at the height of their acting powers in this.

    Others in the cast are Florence Eldridge (Mrs Fredric March) as Fantine, Rochelle Hudson as Cosette, John Beal as Marius (a bit of a wet fish), and Ferdinand Gottschalk as Thenardier. The novel is re-interpreted and expanded to include, for example, some sense of Cosette growing up in the care of Valjean. There are also some memorable visuals - notably the court scene where Valjean reveals his identity, and the shot of the handcuffs Javert leaves behind when he goes to his (off-screen) suicide.

    A worthy adaptation of a memorable and complex novel. Less obvious that some versions which have appeared in later decades, this 30s film is probably the best adaptation that has been made.

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    • Wissenswertes
      Florence Eldridge, who plays Fantine, was Fredric March's wife in real life. They were married from 1927 until March's death in 1975.
    • Patzer
      Valjean's coat and cloak have dirt on them while he's drenching his horse at the White Sergeant, but are clean before and after that.
    • Zitate

      Jean Valjean: How do you know I won't murder you in the night?

      Bishop Bienvenu: [remains calm] Well, how do you know I won't murder you?

      Jean Valjean: Nah...

      Bishop Bienvenu: You have faith in me it seems. And I must have faith in you, musn't I? Good night.

    • Crazy Credits
      Prologue: "So long as there exists in this world that we call civilized, a system whereby men and women, even after they have paid the penalty of the law and expiated their offences in full, are hounded and persecuted wherever they go - this story will not have been told in vain." Victor Hugo
    • Verbindungen
      Featured in Minute Movie Masterpieces (1989)

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    Details

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    • Erscheinungsdatum
      • 20. April 1935 (Vereinigte Staaten)
    • Herkunftsland
      • Vereinigte Staaten
    • Offizieller Standort
      • arabuloku.com
    • Sprache
      • Englisch
    • Auch bekannt als
      • Les Misérables
    • Produktionsfirma
      • 20th Century Pictures
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    Box Office

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    • Budget
      • 1.000.000 $ (geschätzt)
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

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    • Laufzeit
      1 Stunde 48 Minuten
    • Farbe
      • Black and White
    • Seitenverhältnis
      • 1.37 : 1

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    Charles Laughton and Fredric March in Die Elenden (1935)
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