The story begins with Jean Valjean as a humble worker endeavoring to provide for his invalid mother. They live in a squalid home, made more wretched by his inability to provide sufficient ... See full summary »
In Greece during the war a small group of British commandoes and patriots land on an island with orders to attack two airfields from which the Luftwaffe is threatening allied forces in ... See full summary »
This is the story of the crew of a downed bomber, captured after a run over Tokyo, early in the war. Relates the hardships the men endure while in captivity, and their final humiliation: ... See full summary »
In turn-of-the-century Australia two criminals ingratiate themselves with a rancher in order to swindle him.However, the two partners become rivals for the affection of the rancher's beautiful daughter.
Jean Valjean, an old man whose life has been nearly destroyed by his pursuit by an implacable lawman, Javert, for a minor infraction years before, finds himself and his adopted daughter ... See full summary »
Fernando A. Rivero
Two American soldiers are captured by the Germans on the Western Front during World War One and escape a POW camp only to stumble into further life-threatening adventures when they come across an Arabian king's daughter while on the lam.
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The young race car driver Vittorio is undecided whether to marry the rich widow Diana or the innocent young girl Adriana. Vittorio indecision brings suffering to Diana and Adriana until he is killed in an automobile accident.
Anna Maria Ferrero,
After stealing a loaf a bread to feed a starving family, Jean Valjean is sentenced to ten years at hard labor as a galley slave. There he is taught to read and write by another prisoner and meets Javert, an obsessive policeman who was himself born to convict parents aboard a prison ship. After his release, Valjean is treated as a pariah but finally finds shelter in the home of a kindly bishop. Valjean repays the clergyman's generosity by stealing his silver plate. He is apprehended by the authorities and returned to the bishop but is amazed when the kindly old priest tells them that the valuable plates were a gift. This becomes a transforming experience for the ex-convict, who establishes himself under an assumed name in a small country village as factory manager and ultimately mayor. Unfortunately the newly-promoted Javert is assigned there as chief inspector. Although he doesn't recognize his old nemesis at first, the two clash over Javert's overzealous prosecution of the letter of ... Written by
Watchable version of the oft-filmed Victor Hugo tale: made by the same studio (Fox), it emerges as a wholly inferior remake of the superb 1935 version – which I reviewed earlier this month. Despite Milestone’s involvement, this one displays more surface gloss than genuine style – with the script itself being much more prosaic. Still, there’s an intermittent evidence of talent throughout – for instance, in the rather effective final shot which frames the mirror image of the protagonists between the all-important candlesticks; also worth noting is the score by Alex North which, particularly at the climax, feels like a dry run for his Oscar-nominated work on SPARTACUS (1960).
Michael Rennie and Robert Newton are fine actors, but their performances here are no match for Fredric March and Charles Laughton in the earlier film; though Newton is remarkably restrained, his role has been somewhat diminished to accommodate the sappy romance involving Debra Paget and Cameron Mitchell! Besides, it’s compromised by the loss of two small but important scenes from the 1935 version which, in this case, robs the character of essential depth: a) when Javert is humiliated by his peers for his lowly background, and b) when he blackmails newly-appointed Mayor Jean Valjean, a former convict, in his office; unbelievably, it substitutes the first by having Javert’s own father serve a prison sentence on the galley to which he’s himself assigned!
Other conceptual flaws include: Edmund Gwenn’s pivotal role of the Bishop, which comes off as whimsical alongside Cedric Hardwicke’s haunting turn in the earlier film; Valjean is depicted as an illiterate who receives schooling from the intellectual played by Joseph Wiseman (his Method approach feels out of place in a 19th century French setting!); Javert’s conscience-stricken demise here is, disconcertingly, brought about by his brief conversation with James Robertson Justice (as Valjean’s right-hand man); missing from the narrative, though, is the poignant character of Eponine (whose role gave a plausible melancholia to the romantic angle in the 1935 film).
Ultimately, I wouldn’t call the 1952 LES MISERABLES unnecessary, considering that it’s made with undeniable professionalism and the fact that countless other film versions have followed it; perhaps, the late eminent critic Leslie Halliwell summed it best in his claim that it’s “lacking the spark of inspiration”.
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