Thoughts on Les Mis (Part II)

-There are many extreme close-ups for prolonged times. I don't know what this was trying to accomplish. It is safe to say I never felt extra-sensitive or connected by Anne Hathaway being huge and belting directly at me. On the contrary, I kept being pulled from the experience thinking, "Why does this keep happening?" Perhaps the filmmakers were thinking in exchange for the tangible aspect of a stage show, they would highlight the micro-possibilities of movies. But, for me, at least, the two were not comparable. I will say it was cool to see actors' emotional transformations so distinctly--read: so many tears. But, then again, while the shots made me appreciate the acting, I was so aware of them, I couldn't be fully appreciative of the story.
-Eddie Redmayne. Yowza.
-Thenardiers--perf, great fun, Sasha Baron forevah.
-It's nice they got the original Valjean into the film as the priest, but it bothered me they beefed up the part so much. Well, I'm actually not sure about this. The film hugely emphasized the religious undertones of the story, which, I suppose, are important. I actually had never truly understood how much the story is about God's grace until watching the film--mainly because of all the angled crucifix shots and ol' priesty wandering around extra scenes. I must admit, it was refreshing to see a movie that spoke to the importance of God. I don't generally believe religious views should be pushed on people, but I find it strange that religion is a huge force in society, and it is so infrequently involved in storytelling unless it is the point of the story.
-Russel Crowe. Woof. Guy can't sing for beans, or should I say...A LOAF OF BREAD.
-One of my favorite parts of the musical is the three-part harmony between Eponine, Fantine, and Valjean in the finale. Bummed they cut Eponine, but then in hindsight...why would she be welcoming Valjean to heaven? They didn't know each other. Oversight, lyricist.
-Loved Enjrolas dying in classic stage pose. A lil something for the old school fans.
-"One Day More": did not dig it! This is when I really missed the theatre. Seeing each person on their own journey feet from each other onstage is so much more exhilarating than cuts.
-New Number? Why? Why why why? So dumb. Did not y'all get the memo this musical is long and right on the cusp of boring? I mean, if it had been a song to highlight some character who wasn't originally--NO, another solo for Hugh. Pass.
-Many times words would be switched around in a lyric for no apparent reason. IE Jackman singing "I am the mayor of this town. I run a business of repute" instead of the other way around. This obviously tripped my mental record player and I wondered if these were line flubs or re-written for some minute reason.
-Loved loved loved the finale of "Do You Hear the People Sing?" Beautiful, epic, comforting, chilling.
-Also loved how film began on a ship chain gang in dirt and darkness and ended on that gorgeous golden ship. Pretty inspirational. Victor Hugo started the original "It Gets Better" movement.
-Speaking of the novelist, the main thing I kept realizing during the film is that the story in itself is...not that good. I'm sure the book is much more satisfying in terms of development, but most of the story is rather shallow. The young love triangle is vapid. We get introduced to characters just in time to watch them die. We don't really get a sense of what the barricade is seeking to accomplish. (Although I did appreciate Gavroche's new verses in "Look Down" that at least set up the monarchy in France). In the words of Henne as we discussed it yesterday, "Like, get an editor, Hugo."

B

Look down, Javert, he's standing in his grave.