William L
"I did some harm, I did some good. But more good than harm."
Nearly a century after its release, this epic adaptation by Raymond Bernard remains among the greatest cinematic takes on any French-language literary classic, perhaps the single most substantial and rewarding. Despite its vaunted reputation, the scope seems to have been a tragic weakness in the film's later popular appeal; people see a runtime of more than four and a half hours coupled with an early release date and the interest just seems to dissipate. And that is a real shame, because this film is an actual masterpiece.
Exceptional scope, on-location shooting, cinematographic flair (you thought The Third Man liked to use Dutch angles?), and a brilliantly restrained performance from Harry Baur all combine to make this a film that can actually match Hugo's efforts at character development. Despite the time commitment, the film moves at a surprising pace, keeping the entertainment value without sacrificing the commentaries on class conflicts and social evolution, as well as allowing subplots to take on considerable importance (the cruelty and decline of the Thénardiers is practically a film unto itself). To top it off, the film has received a gorgeous restoration from Criterion, giving it the framerate and definition that it deserves.
I'm hoping we get a similar level of quality and scope in a modern adaptation of The Count of Monte Cristo, perhaps as a miniseries. We don't need added musical numbers or clout-chasing A-listers working towards their next vanity project to make great films, we need filmmakers with vision, an understanding of the source material, a lack of studio nitpicking, and solid budgets. (4.5/5)
Rated 4.5/5 Stars •
Rated 4.5 out of 5 stars
05/30/22
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Audience Member
Stupendous and monumental three-part version of the Hugo classic. Raymond Bernard's camera is often skewed (Carol Reed's Third Man was clearly influenced) and lit like early film noir. Harry Baur is perfect as Valjean, huge and modest, and partnered superbly by Charles Vanel's Javert. All the supporting performances are fantastic - naturalistic and understated - and the entire enterprise is as involving and meticulous as the best of David Lean.
Rated 4.5/5 Stars •
Rated 4.5 out of 5 stars
01/27/23
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Audience Member
Tremendous epic. Has its faults, but otherwise it's a mind grower. Loved it.
Rated 5/5 Stars •
Rated 5 out of 5 stars
01/22/23
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walter m
"Les Miserables" starts with Jean Valjean(Henry Baur) being released from prison after 19 years of hard labor for stealing a loaf of bread, resisting arrest and four escape attempts. The catch is his yellow passport which means he has to check in with every locality he passes through and guarantees he will be shunned by every inn along the way. The exception is Monseigneur Myriel(Henry Krauss) who even forgives Valjean for his attempted theft, throwing in a couple of silver candlesticks in the bargain. In response, Valjean decides to turn his life around, becoming a civic leader and owner of a factory where Fantine(Florelle), a single mother, works.
I have only previously seen the 1998 adaptation of Victor Hugo's classic novel, so I am not really an expert on the material. At the very least, this early French language version is different than I was expecting, not least because Baur actually looks like somebody who might have been in prison, not a Hollywood casting call. Some things are familiar, like the singing in this non-musical version. However, in making an epic movie, it takes the idea of sprawling storytelling too far, leaving its main character off the screen for long periods of time, and only giving sporadic glimpses of Inspector Javert(Charles Vanel), making me wonder what the big deal was all about in the first place. A spectacular running battle which takes up most of the third part is only symptomatic in general of scenes that go on too long. And as much history is here, there is just as much melodrama. Sadly, poverty and the suffering of those just released from prison are still very much endemic to society.
Rated 3/5 Stars •
Rated 3 out of 5 stars
03/31/23
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Audience Member
Haven't seen Ann Hathaway cry her way to the Oscar yet, but I'm laying money on this as the definative version.
Rated 4.5/5 Stars •
Rated 4.5 out of 5 stars
01/17/23
Full Review
Audience Member
That is my wish. A head stone. No name.
In 19th century France the top is about to burst for the people and the revolution is about to occur. Les Mierables tells the tale of one convict who breaks parole to start a new life for his people. He ultimately adopts a young girl and tries raising her the best way he knows how; unfortunately, a dedicated police officer will stop at nothing to bring him in for breaking parole.
"How do you know I'm not a murderer?"
"That's the lord's concern."
Raymond Bernard, director of Wooden Crosses, The Chess Player, Seventh Heaven, Fruits of Summer, Maya, Judgment of God, and The Cape of Hope, delivers Les Miserables. The storyline for this picture is very good and each character is delivered and developed perfectly. The cast delivers awesome performances and includes Harry Bauer, Charles Vanel, Paul Azais, and Charles Dullin.
"You're free. Your shoulders earned that."
Turner Classic Movies (TCM) aired the 1934, 1935, and 1956 versions of this film in honor of the recent released picture. I have seen this year's (2012) and 1935 version of this picture and would say this is my least favorite so far (and the 1935 version is my favorite). Overall, this version of the film has the best character development (and longest run time, 4 hours and 45 minutes) but was a bit too methodical and detailed. I loved the film but would rank it just a notch below this year's version.
"So even monkeys catch colds."
Grade: B+ (8.25)
Rated 4/5 Stars •
Rated 4 out of 5 stars
01/19/23
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