Analysis
The men and women behind Les Miserables (2012) had the challenge of both successful adapting a Broadway musical for legions of fans and creating something with cinematic merit. Critics seem to think they handled the judgling act beautifully; the picture was nominated for 8 Academy awards and won 3 Golden Globes.
In order to objectively look at the film and appreciate its complexity and success, one must first go back to the novel that the musical is based on. It was written by Victor Hugo, a french novelist who lived from 1802 to 1885. He is known as one of the greatest french writers of all time. His best known novels include "'Les Contemplations' (1856), 'Les Misérables' (1862), 'La Legende des siecles' (1877), 'William Shakespeare' (1864), 'Les Chansons des rues et des bois' (1865), 'Les Travailleurs de la mer' (1866), 'L'Homme qui rit' (1869), and 'Quatre-Vingt-Treize' (1874)." He is sometimes a difficult writer for contemporary students to crack because the differences between French 19th century literature and modern novels are rather large, making this film an excellent option for people wanting to experience the story without the hassle of trying to understand the early 19th century dialogue.
Les Miserables demonstrates his views on the social and moral issues of the time. Hugo lived in a time and place less civilized in regard to human right and support of the struggling. There was no welfare; people without jobs starved on the streets. He therefore showed in his novels a disgust for wide economic divides between the rich and poor and for injustices against the lower classes simply because of their circumstances. This theme was carried into the musical and then into the film. Most of the characters fall into either the struggling peasant class or the privileged and self-righteous higher class. Specific examples include the poor Fantine's fall from grace for moral reasons and how it is perceived as sinful by the wealthier Inspector Javert. The film uses a reoccurring motif of close up on grimy sick people in the streets with an out of place member of the high class in the midst, often on horse or in carriage. The film is commenting on the governments inability to protect the poor and the rich people's lack of sympathy. It certainly is relating this to the issues in the 19th century, but may also to an extent be aiming a finger at more modern day governments. and societies.
The film explores religion and redemption, but views religion from a pacifistic, loving perspective, which incidentally functions as a theme in the film as well. The film shows the struggle of one man for redemption. While his story ends optimistically, the film's antagonist of sorts, having realized the error of his ways, is less fortunate when it comes to redemption. The film is not some fable or "happily ever after fairytale". It features countless characters death, a disease and poverty ravaged population, and a lot of suffering. The title literally translates to The Miserables. Despite have a central them of redemption, Les Miserables does not view said theme as an absolute option for everyone, like many a redemption story would. The movie portrays Valjean as redeemable, regardless of his mistakes, while it shows Javert as beyond saving, despite his somewhat good intentions. Les Miserables is meant to be brutally honest when it comes to reality and, especially, human nature. It uses character emotions as well a dingy sets and costumes to evoke a strictly non-glamourized and truthful portrayal of what happens when people are completely abandoned by the government and their friends. It does not intend to be a pessimistic film persay, but it does aim for a realistic product that pokes holes in the bubble worlds of the wealthy and opt
The genre of musicals isn't a traditionally well respected in the academy. The fact that this film went over so well, despite being a musical, shows how noteworthy Les Miserable really is. The top ten feature film musicals according to IMDB are Les Miserables, The Lion King, Imaginareum, Rock of ages, Tangled, Rio, Grease, The Wizard of Oz, Aladdin, Hairspray. Most of these films are not well respected and lacked what it took to be nominated for best picture.
In order to objectively look at the film and appreciate its complexity and success, one must first go back to the novel that the musical is based on. It was written by Victor Hugo, a french novelist who lived from 1802 to 1885. He is known as one of the greatest french writers of all time. His best known novels include "'Les Contemplations' (1856), 'Les Misérables' (1862), 'La Legende des siecles' (1877), 'William Shakespeare' (1864), 'Les Chansons des rues et des bois' (1865), 'Les Travailleurs de la mer' (1866), 'L'Homme qui rit' (1869), and 'Quatre-Vingt-Treize' (1874)." He is sometimes a difficult writer for contemporary students to crack because the differences between French 19th century literature and modern novels are rather large, making this film an excellent option for people wanting to experience the story without the hassle of trying to understand the early 19th century dialogue.
Les Miserables demonstrates his views on the social and moral issues of the time. Hugo lived in a time and place less civilized in regard to human right and support of the struggling. There was no welfare; people without jobs starved on the streets. He therefore showed in his novels a disgust for wide economic divides between the rich and poor and for injustices against the lower classes simply because of their circumstances. This theme was carried into the musical and then into the film. Most of the characters fall into either the struggling peasant class or the privileged and self-righteous higher class. Specific examples include the poor Fantine's fall from grace for moral reasons and how it is perceived as sinful by the wealthier Inspector Javert. The film uses a reoccurring motif of close up on grimy sick people in the streets with an out of place member of the high class in the midst, often on horse or in carriage. The film is commenting on the governments inability to protect the poor and the rich people's lack of sympathy. It certainly is relating this to the issues in the 19th century, but may also to an extent be aiming a finger at more modern day governments. and societies.
The film explores religion and redemption, but views religion from a pacifistic, loving perspective, which incidentally functions as a theme in the film as well. The film shows the struggle of one man for redemption. While his story ends optimistically, the film's antagonist of sorts, having realized the error of his ways, is less fortunate when it comes to redemption. The film is not some fable or "happily ever after fairytale". It features countless characters death, a disease and poverty ravaged population, and a lot of suffering. The title literally translates to The Miserables. Despite have a central them of redemption, Les Miserables does not view said theme as an absolute option for everyone, like many a redemption story would. The movie portrays Valjean as redeemable, regardless of his mistakes, while it shows Javert as beyond saving, despite his somewhat good intentions. Les Miserables is meant to be brutally honest when it comes to reality and, especially, human nature. It uses character emotions as well a dingy sets and costumes to evoke a strictly non-glamourized and truthful portrayal of what happens when people are completely abandoned by the government and their friends. It does not intend to be a pessimistic film persay, but it does aim for a realistic product that pokes holes in the bubble worlds of the wealthy and opt
The genre of musicals isn't a traditionally well respected in the academy. The fact that this film went over so well, despite being a musical, shows how noteworthy Les Miserable really is. The top ten feature film musicals according to IMDB are Les Miserables, The Lion King, Imaginareum, Rock of ages, Tangled, Rio, Grease, The Wizard of Oz, Aladdin, Hairspray. Most of these films are not well respected and lacked what it took to be nominated for best picture.
Hero's Journey
Ordinary world- The prison and labor camp type thingy
Call to adventure/Meeting of the mentor- When he is taken in by the bishop and treated well. He is given a chance to stay and become a better person
Refusal of the call- Then he steals and is brought back to the bishop and the bishop gives him another chance and he is called by god and his inner self to tear up his papers and become a new man.
Crossing the threshold- The movie takes a left turn into Fantine’s situation and when Valjean's path crosses with hers again then he is able to redeem himself further by scooping her up out of the gutter and bringing her to the hospital
Tests enemies and allies- When Valjean sets out in search for Cossette the daughter of Fantine he meets along with a few new archetype characters that serve as messengers and tricksters the innkeepers. While the film also follows the constant run-ins between Valjean and Javert. The most important ally that Valjean makes is Cossette her life affirming adorableness has lulled him into wanting to raise her as his own. These interactions are not exclusive to this part of the movie because the whole movie is spent defining the roles of the enemy and the ally.
The Ordeal- The Ordeal has less to do with Valjean because it focuses mainly on Marius and Cossette and the June Rebellion. Valjean is, however, pulled back into the ordeal when he has to save Marius’ life. When Marius is wounded, Javert shows up to cause more trouble for Valjean. The two old rivals face off, but you'll have to watch the movie to find out what happens.
Call to adventure/Meeting of the mentor- When he is taken in by the bishop and treated well. He is given a chance to stay and become a better person
Refusal of the call- Then he steals and is brought back to the bishop and the bishop gives him another chance and he is called by god and his inner self to tear up his papers and become a new man.
Crossing the threshold- The movie takes a left turn into Fantine’s situation and when Valjean's path crosses with hers again then he is able to redeem himself further by scooping her up out of the gutter and bringing her to the hospital
Tests enemies and allies- When Valjean sets out in search for Cossette the daughter of Fantine he meets along with a few new archetype characters that serve as messengers and tricksters the innkeepers. While the film also follows the constant run-ins between Valjean and Javert. The most important ally that Valjean makes is Cossette her life affirming adorableness has lulled him into wanting to raise her as his own. These interactions are not exclusive to this part of the movie because the whole movie is spent defining the roles of the enemy and the ally.
The Ordeal- The Ordeal has less to do with Valjean because it focuses mainly on Marius and Cossette and the June Rebellion. Valjean is, however, pulled back into the ordeal when he has to save Marius’ life. When Marius is wounded, Javert shows up to cause more trouble for Valjean. The two old rivals face off, but you'll have to watch the movie to find out what happens.