Die Wütenden - Les Misérables

In Paris the fragile peace between gangs and police is threatened when a lion cub from the circus goes astray. Depicting the harsh and violent culture of the authorities and those the authorities universally neglect and forget (the world over): you reap what you sow and cultivate, if it has sharp fangs it will bite you where it hurts the most.

I walked into the theater to see Les Miserables late this afternoon with no expectations.

Maybe a thought that this was a modern 'woke' version of Hugo's classic. It isn't. It's a gritty, fast paced, police procedural set in the banlieues of Paris. Unflinching about what the police find there, and how the police act and react to a Paris that tourists never see.

Sobering and revolutionary.

A stunning find and a great movie.

Just in case there was any confusion, this Les Misérables has no singing Russell Crowe's or period costumes but is a film that shares the same power and humanity as Victor Hugo's famed novel that has spawned countless stage and screen adaptations.

Nominated at this years Academy Awards in the best Foreign Language film category and announcing the arrival of a very special directional talent in the form of Ladj Ly in the process, Les Misérables is an incendiary and white knuckle thriller that is set in the director's childhood neighborhood of Montfermeil in Paris, a melting pot of different cultures and beliefs that are waiting to explode around a small team of specialist police officers who patrol these streets in hopes of maintaining order.

Based off his own short film of the same name and starring its three lead actors Damien Bonnard, Alexis Manenti and Djebril Zonga, this version of Ladj Ly's Les Misérables rarely lets up for a single minute as we follow Bonnard's new to the team Ruiz whose been partnered up with Manenti and Zonga's veteran officers who know the streets they roam like the back of their hands and whose fragile state of minds and humanity comes to the forefront around a seriously dangerous situation that starts around, of all things, a small lion cub.

Filmed in a virtuoso manner that places the viewer right in the thick of the action as we are introduced to these mean streets where the working class, the youth and the criminally minded clash on a daily basis, Les Misérables is an electrifying watch as it ramps up to near unbearable levels of tension as the films various characters converge in unpredictable and confronting ways.

Wonderfully played by its main cast that includes a hugely impressive performance from young actor Issa Perica as the tales important figure Issa, Les Misérables puts many Hollywood police dramas/thrillers to shame as it bounces around the locales of Montfermeil and establishes all of its key players with grounded backgrounds and motivations, building a world and story that feels cut from real life, a tale that comes from the heart and experience of a lived in life bought forward in a stunning manner through film.

Final Say -

Not the Les Misérables many know and love but one that will hopefully find an audience just the same, Ladj Ly's stunning feature debut is one of the finest police thrillers of the last decade and an insightful look at modern day Paris also. An absolute must-watch.

4 1/2 kebab shops out of 5

Some people acknowledge that this movie is well shot, but complain that it doesn't get the roots of the problem, doesn't point out the culprits, probably the capitalist society and France's colonial past. Neither does it offer much in the way of easy solutions, which would have been completely off the mark. Any of that would have led to a militant movie that would have satisfied a few militants but that would have had much less impact on the rest of the viewers.

People compare this movie to La Haine, which was a landmark in its time; but Les Miserables takes a much wider view, where each participant - even the shadiest - has his own logic (few women in this movie, btw) and reasons for doing what they are doing. It is this humanist outlook that tags it to Victor Hugo, rather than the story that has little to do with the novel of the same name.

The suspense is riveting to the end, all the more that we don't know exactly where the movie is going. There are loads of short appearances by little-known actors that leave you wondering whether they are are actually acting a part or playing their own role. The action scenes are realistic and original.

"Those who live are those who fight." Victor Hugo

Because I have had my fill of violence recently in the realism of For Sama and the fantasy of The Gentlemen, I can more easily recognize the artistic importance of it to represent the malign tendencies of human nature and the absurdity of having to defend life with terror rather than thought. The rugged streets of ethnically-diverse Paris, usually hidden from us white travelers, come alive in this loose update of Les miserables by director Ladj Li's

Violence is cinematic, and in the Oscar-nominated Les miserables, set in Hugo's modern-Paris hood, it serves to explode in our minds the great divide between kids and adults and the evil of police brutality for those kids doomed to spend their days under racist dominance and ignorant supervision. The

Young Issa (Issa Perica) steals a baby lion from a circus; an active crime unit, led by modern-Javert Chris (writer Alexis Mananti), pursues him with brutal results. As white police clash with predominantly Muslim citizens, kids ironically become the antagonists, as if writer/director Li wanted to remind us that in Lord-of-the-Flies tradition, even the innocent are not so innocent if we teach them well. Hugo would have agreed that the adults in charge are jailers with cruelty on their minds.

The cinematographic movement of this Oscar-nominated drama is active with Steadicam balance and drone perspective. We are there.

Of the dozen or so characters, not one is neglected, and not one is irrelevant to the plot. As for the Parisian setting, Ladj makes sure the Eifel Tower appears in a few shots, more I suspect to make fun of our cliched experience with the great city because the hood we see in Les miserables is the world we most likely would never see in our travels. Chalk up another of cinema's gifts to us.

Here's a film of enormous humanity and entertainment couched in a tense world of racist clashes and violent conclusions. Hugo would agree while offering a modicum of hope: "The darkest night will end, and the sun will rise."