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Les misérables (Part III) (1909)

The third in the series of films de luxe based upon incidents of Victor Hugo's Les Miserables. Cosette will be found to be a worthy successor to The Galley Slave and Fantine. Although ... See full summary »

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Jean Valjean
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Javert
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The third in the series of films de luxe based upon incidents of Victor Hugo's Les Miserables. Cosette will be found to be a worthy successor to The Galley Slave and Fantine. Although telling a complete story in itself, the action forms a continuation of the earlier releases. Jean Valjean has escaped from the galleys at Toulon and is supposed to have been drowned, but he is seen emerging from the sea and concealing himself in the thicket. He makes his way to the little village of Montfermeil, where, when eluding the police after the galley slave bad been recognized as M. Madeleine, the Mayor of his town, he buried the money be withdrew from the Paris bank. Provided with funds be makes his way to the inn of the Thenardiers, where poor little Cosette, the child of the dead Fantine, is the slave of the brutal innkeeper and his still more callous wife. Jean purchases Cosette's freedom, but Thenardier repents his bargain and the letter given Jean by Fantine, to whom he had promised the ... Written by Moving Picture World synopsis

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based on novel | See All (1) »

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Short | Drama

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23 October 1909 (USA)  »

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Cosette  »

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1.33 : 1
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Follows Les miserables (Part II) (1909) See more »

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The producers may well be proud
11 January 2015 | by See all my reviews

The third film de luxe in this company's series based upon events in Victor Hugo's "Les Miserables." While this film is complete in itself its connection with the two earlier pictures, "The Galley Slave" and "Fantine," is apparent and it becomes a satisfactory illustration of this portion of the story. Like the others it has numerous dramatic situations, the most impressive of which is the placing of Jean Valjean in the coffin, which is buried. The purchase of Cosette's freedom is interesting, the appearance from the sea, and the recognition by Javert, all form important climaxes in the development of the story. The reproduction seems to be up to the high standard set by the former pictures, and it seems as though the interest in the film has taken on a different tone, if one may so phrase it. Apparently the picture is better understood and there is a closer following of the plot, which in this film goes into considerable detail in the development. Acting and staging seem to be in harmony with the descriptions given in the story, a characteristic of Vitagraph productions. The films form a series of which the producers may well be proud, and the picture loving public will look for the next with increased interest. - The Moving Picture World, November 6, 1909


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