Les Misérables

This is a must see film if you loved the Broadway version. The actors gave incredible performances, especially, Anne Hathaway and her singing in I Dreamed a Dream. Hathaway's performance made this film work.

Tom Hopper directed this film just like the Broadway version. I can't praise this film enough!

This film tells the story of a man who stole a piece of bread to feed his sister's child. He was in jail for almost twenty years. He lives a fugitive life, complicated by his pledge to help raise the daughter of an unfortunate woman.

"Les Miserables" is a wonderful film. Right from the start, it captures every viewer's hearts. It makes three hours seem like ten minutes. It is so touching and so poignant that everyone in the cinema cried like a baby. Throughout the film, the sound of tissue packets opening and closing was a permanent addition to the soundtrack. For me, I just let my t shirt be drenched in tears, as if i have had a strenuous workout. I thought the Anna Hathaway soliloquy was already with the ticket price, but masterpiece scenes like that keep on coming. I was dehydrated from all the water I lost from tears by the end of the film.

It's amazing how the film can take us through every emotions there is. From the relentless struggle for existence, the the uplifting revolutionary spirit, the fatherly love and the encompassing integrity of Jean. Everything keeps emotions high, and love i find my tears literally in a freefall mode without even knowing why. "Les miserables" is a wonderful masterpiece, and is certainly one of the best films I have ever watched.

This is a really tricky one to talk about. Its place in the Les Mis repertoire is confusing to newcomers and the reviews are polarised which is also confusing, but I understand why.

This is a film version of a the musical adaptation of a novel. Therefore, I think that attempting to watch this without any prior knowledge of Les Mis is going to leave you confused or feeling incomplete. Les Mis is such a huge epic vast story that features many characters and covers many years and has many important grand themes. All of these cannot be crammed into a 2.5 hour movie, never mind a 2.5 movie version of a musical version of the story. Les Mis is absolutely fantastic, but I recommend to people that they understand the story in its entirety before seeing the musical. The 2018 BBC series a a great 6-hour in-depth version if you don't want to read the 1500 page novel. Then, I think you can appreciate the musical in its totality because it brings the themes and emotions of the story alive through music and musical theatre. Then, once you are familiar with the musical (there are 3 famous recordings of it available) , then you can understand the movie remake of the musical and what it was trying to achieve.

So I totally understand why fans of the musical would be disappointed in this because it features actors rather than singers, so the singing is nowhere near as good as in the musical. I also understand why newcomers to Les Mis might be disappointed in this, because on its own it is an incomplete rendering of Les Mis, there is so much depth and context that I feel you need in order to piece it all together and truly appreciate the tragedy and the themes within it. But for those who have an understanding of what came before, I think this is a really bold and commendable attempt at converting the musical to a movie format. However, ultimately, it is not as emotionally affecting as the musical because (despite some great acting) you can't get a way from the fact that it is largely through the music that the emotional heart is portrayed. And the music here is nowhere near as good as the stage versions.

I think its very important to know what the intentions for this movie were. The actors all sang live, with the intention of being able to sing as if they acting, i.e. They could slow down and speed up where they need for a more realistic portrayal of the words than a song which runs to a consistent tempo. And also not be held back by needing to hit all of the notes perfectly, a lot of lines Hugh Jackman almost speaks rather than truly sings, because he is trying to do the songs in a more realistic acting fashion. This should have been made really clear in all the promo for the film because when you know this you can appreciate more what they were attempting to do, and not just simply compare them to Colm Wilkinson or Ruthie Henshall or any of the vocal greats from Les Mis on stage. Where this works the best as it was intended is in Anne Hathaway's I Dreamed a Dream. Her raw emotional ropey speak-singing works absolutely perfectly for one of the most devastatingly human portrayals of Fantine we have. She won an Oscar for this alone, and though I'm not a huge fan of the Academy's choices I have to agree with this.

The production is beautiful and great to look at. And the casting outside of Hathaway is mostly good. Jackman I think is an excellent Valjean, as vulnerable as he is strong. And in a non-musical version of Les Mis i think he would be one of the greats. But despite his acting abilities, next to Colm Wilkinson or Alfie Boe, he is just not going to compete in fans memories.

It is a must-see, but not as your introduction to Les Mis.

As a massive film fan, my tastes are very wide-ranging, but I do have a problem with musicals. Nevertheless I was happy to take the opportunity of a private viewing of "Les Misérables" at the London office of distributors Universal - the day after the London première and a month before the UK release - because of the outstanding success of the original stage show (a run of 27 years with a total audience of over 60 million) and the surprising and impressive cast list (Russell Crowe, Hugh Jackman, Anne Hathaway, Sacha Baron Cohen, Helena Bonham Carter, Amanda Seyfried and Eddie Redmayne).

The showing was introduced by producer Eric Fellner of Working Title who underlined the commercial challenge of making a film in which all the dialogue is sung and the themes are so political and praised director Tom Hooper ("The King's Speech") for his insistence that every take was sung live.

The two main characters are presented in the opening seconds of a sweeping introductory sequence: the police inspector Javert (Crowe) and the prisoner 24601 Jean Valjean (Jackman) in post-revolutionary France. There follows over two and half hours with barely a spoken word which will not appeal to all cinema-goers, but the production is a triumph with Cameron Mackintosh's musical opened up by dramatic shooting on Pinewood's brand new Richard Attenborough stage and some historic English locations.

If Crowe and especially Jackman are excellent, Hathaway - who lost 25 pounds and most of her hair for the role - is outstanding as the destitute Fantine and Cohen and Carter almost steal the show as the comical Thénardier innkeepers.

I'm not sure how long it will take for "Les Misérables" to recoup its investment cash- wise, but it's going to win award after award and rightly so.

Jean Valjean: "I stole a loaf of bread. My sister's child was close to death, and we were starving." Javert: "And you will starve again unless you learn the meaning of the law!"

Just as I stood at the end of the stage production of Les Miserables, I stood in my home after watching a screener copy. I was, however, concerned that I would have nothing "critical' to say about director Tom Hooper's lush film version, filled with first-rate actors believable crowds, and singing befitting non-opera types in a people's opera.

Jean Valjean (Hugh Jackman), mayor of Paris in the first part of the 19th century, promises dying prostitute Fantine (Anne Hathaway) to take care of her daughter, Cosette (Amanda Seyfried). He has been eluding the tireless policeman, Javert (Russell Crowe), after breaking parole for the crime of stealing a loaf of bread, for which he served 19 years. It's not so much the melodrama that grabs me as the inspired music that has discernibly distinct and luscious melodies and a book that straightforwardly tells story and reveals character.

Jackman, Hathaway, and Crowe are competent singers, and the better for not being opera stars, who would have compromised the Everyman feel of the musical. For an almost three hour show, Hooper and writer Claude-Michel Schonberg keep the action moving from Javert and Valjean in a battle of wits and the youths fomenting a revolution right outside the windows.

For comic relief, Sacha Baron Cohen as Thénardier and Helena Bonham Carter as Madame Thénardier run a comical whore house and do quite well as pickpockets. At times, their antics are so opposite the grand action outside as to be almost irritating. Les Mis was a thrill on stage; it is a joy on screen as the 19th century comes alive with the poor struggling against the rich and the noble, poor or rich, miserable.