Die Elenden

Two or three superb moments are worth seeing for fans of the novel. March gripping the candle holders and in the throws of doubt. This is the only version that shows that goodness does not always come easily to this man. He is constantly locked in a struggle with his own selfishness or desires. Montage of Valjean and Cosette eating soup and sharing other affectionate moments together as she grows up. These are vital transitional scenes that are sorely missing from the novel and go a long way towards making the girl likeable. Javert's moment of realisation that he cannot bring Valjean in after all. Laughton plays it to the hilt in typical Hollywood 1930's style, but it is the defining moment for this character. These scenes add and embellish on the novel's themes and make this version worth a trip to the video rental store. I mean this is an adaptation, people. You want to be a purist? Go read the book.

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.

Another reviewer of this version of Les Miserables said this was the Cliff's Notes version of the Victor Hugo classic. I'd be hard pressed to disagree, but bear in mind that another reviewer said the novel itself is over 1300 pages. That would be a daunting task for any film maker. Les Miserables whether done in English, French or Sanskrit lends itself to a mini-series.

Nevertheless this version that stars Fredric March and Charles Laughton is a good encapsulation of the mammoth story about a paroled prisoner trying to escape his past and the relentless police official who's made it a life's obsession to track him down.

This is the third and final film that March and Laughton co-starred in and they did all three of their films for different studios, Sign of the Cross for Paramount, The Barretts of Wimpole Street for MGM and Les Miserables for the newly formed 20th Century Fox. I'd be hard pressed to pick one that is the best because all three have something different to offer.

I think what Victor Hugo does is make a great case for situational ethics in this story. March as Jean Valjean the prisoner is jailed for 10 years on a minor charge and thereafter subject to a strict parole system. He misses a check in and he's a fugitive.

But March is shown kindness by a warm and understanding bishop played by Cedric Hardwicke and changes his life around. But he has to move several times because of the relentless Inspector Javert.

Charles Laughton in his career played many a deformed soul and none more than Inspector Javert. He's a convict's son himself and to repudiate his humble origins becomes a policeman, but one with a rigid code that shows no understanding of times and conditions for a crime and makes no attempt at all to temper his rigid code with a drop or two of mercy.

Had Javert chosen the ministry, he'd have made a great hellfire and damnation preacher, getting all the words right but missing the music of love, redemption and forgiveness. And Valjean who is of equally humble origins is a redeemed soul, a conception Javert can't understand. But he also knows that Valjean even through out the trials Javert puts him through is one at peace with himself and there's no small amount of jealousy in Laughton's portrayal.

In a great acting duo, I give the decision by a few points to March, mainly because of his dual portrayal. At one point March hears from Laughton that Jean Valjean has been arrested and is on trial. After a lot of soul searching he goes to the neighboring town and gets a half wit off who is also played by Fredric March. Because of that Les Miserables has become one of my favorite Fredric March pictures.

March never got another shot at a thespian duel so to speak with another screen icon until Inherit the Wind with Spencer Tracy. His three films with Charles Laughton are deserved classics all. This is as good a version as you'll ever get of Les Miserables for a single motion picture.

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.

Victor Hugo's novel "Les Misérables" is the kind of elaborate and insightful classic that can never be equaled in a movie. But this 1935 version is a good adaptation, with two excellent stars, believable settings, and a decent script that concentrates on a selection of the more important portions of the novel. While hardly the towering achievement that Hugo's work was, it serves pretty well as an introduction to the two main characters and the basic themes behind their confrontations.

Fredric March and Charles Laughton work very well as the leads. March seems well-cast as Jean Valjean. He's a character that's very hard to do justice to, but March does about as well as anyone could in bringing out some of the thoughts and anxieties inside him. As Javert, Laughton is a less obvious choice for the role, but he shows enough restraint to do a good job in communicating the inspector's intransigent devotion to a narrow set of beliefs. While you could hardly expect the complexity of the novel, the scenes with the two of them work well in bringing out the basic contrasts in their personalities and perspectives.

The other characters are pushed more into the background, and many of their stories are only partially developed. Accordingly, they are portrayed by a solid but generally unremarkable supporting cast. The screenplay focuses on Valjean and Javert, with the other characters usually coming into play only insofar as they relate to the stories of the other two. No doubt that is a disappointment to those who admire the interesting lives and well-developed personalities that Hugo wrote for them, but it seems hardly avoidable in a regular-length film feature.

For an attempt to convey the central characters and themes of the story, this works pretty well, and it is a classic worth seeing. Those familiar with the novel should at least be able to appreciate March and Laughton for bringing their characters to life, and those who have not read the novel should find it a worthwhile introduction to the story.