Les Misérables

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.

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.

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.

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.

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.