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- Writer: Dharma Bray
- Resume Consumer chillout lounge at the end of the world bringing you pop/cultural updates as life on earth goes extinct. Online flirt. All tweets disposable.
Ladj Ly, Alexis Manenti; 
; runtime=1 h, 44 Minutes; Tomatometers=8,3 / 10; Country=France; Issa Perica. Ruthie Henshall just knocks it outta the park. What a powerful voice. Truly one of the greatest trailers of all time.
Samantha's voice is just... ❤️. Profoundly moving, hard hitting moral drama elevated beyond being yet another 'banlieu' film through masterful use of cinematic language, combined with heartfelt performances from a largely non professional cast. France's ongoing tensions around identity, race and belonging expand, confronting you head on with dilemmas about the sheer difficulty of the human condition.
Looking for something going further than social realism? Comfortable being uncomfortable? Willing to question the assumptions of multiculturalism and the liberal enlightenment project? Prepared to wrestle with the effort of formulating just what questions need asking instead of expecting someone to bring you answers? Les Miserables will be for you.
Opening with shots of young black teenagers celebrating France's world cup victory celebrations in Paris in 2018, concluding this opening scene with a shot of the Arc de Triomphe superimposing the title Les Miserables, director Ladj Ly at once situates himself in a canon of French 'auteurs' while claiming space for these marginalised and excluded kids as being indeed French and, furthermore, spiritual descendants of the 19th century 'Les Miserables' of Victor Hugo's novel.
Montfermeil cite (housing project / estate) on the Eastern outskirts of Paris.
Following the world cup, three policemen, Chris, Gwada and newcomer to the team Stephane, are looking for a thief who's stolen a lion cub from a travelling circus - they have a limited amount of time - if the cub isn't returned, war will erupt between the various patriarchal groups who live uneasily alongside one another in the cite.
The liberal enlightenment project assumes the inevitability of 'progress. it's only a matter of time before everyone, everywhere in the world, adopts European (French) systems of democracy, liberal capitalism and so on. Human beings are rational and reasonable, living peacefully through democracy, state institutions and the rule of law.
The 'panopticon' is a system of total surveillance which emerged from 18th century British philosopher Jeremy Bentham. This can be seen to manifest in housing estates like Montfermeil - uniform, system built apartment blocks facilitating observation and control. However, the surveillance is subverted by the nerdy boy Buzz (played by the director's son, Al Hassan Ly) whose hobby is flying drones and who, through the drone, witnesses and records an act of police brutality.
Spectacular use is made of the cite with drone shots soaring above the apartment buildings. Implying freedom, escape yet there's something more sinister. Early on the viewer is implicated in Buzz's pubescent voyeurism using his drone to spy on women - we see from his point of view, implicating us in his voyeurism which confronts us with how so often people in these places are used by politicians and the mainstream media as objects to be exploited for entertainment or political purposes. What's our purpose in watching this? How many times have we watched prurient documentaries about 'tough gangs' or 'problem estates?
While 'District 13' or 'La Haine' spring to mind as obvious comparisons, Les Miserables shares some characteristics, including one crucial scene in particular, with Francois Truffaut's 'The 400 Blows. Both films show marginalised, excluded children. The same difficult age, 12 / 13, moving away from childhood into adolescence.
An academic called Anne Gillain wrote an essay about 'The 400 Blows' called 'The Script of delinquency' drawing on psychoanalytic theories from DW Winnicott and Melanie Klein. Returning to Gillain's work helps account for why and how Les Miserables is so much more than just another 'banlieu' social realist film.
Issa's mother in Les Miserables appears, like Mme Doinel, in 400 Blows, uninterested in her son. If I understood the dialogue correctly, when the cops call at the flat, she doesn't know where he is. Instead, she shows Gwada a room full of female friends counting out money. Clearly materialism and money are more important than children.
Stealing is central in both films - Gillain draws on psychotherapists Winnicott and reads stealing as being 'a gesture of hope' on the part of the child to reclaim the care and love to which they are entitled. Lead actor Issa Perica is perfectly cast as Issa - cub like himself with his delicate features, complexion, beige combat pants, sporting a T shirt with a lion motif explicitly identifying him with the animal. This however is an animal destined for a life of imprisonment as a circus animal. By stealing the cub Issa at one and the same time reclaims the nurturing to which he's entitled and by liberating the animal expresses his own yearning for freedom beyond the confines of his current life.
If women have little visibility in Les Miserables I read this as a comment by Ly on the macho posturing of the patriarchal society he reflects. Women, when they do appear, are strong figures. Teenage girls answer back when provoked by the cop Chris, an inadequate little bully of a man. An enraged mother intervenes against the cops' abusive questioning of four small boys.
If the state has abandoned these kids, literally excluding them and their families to the peripheries, other organisations or institutions don't offer much in the way of alternatives. There's the fast food restaurants and a fast food stand whose owner turns the kids away when they ask for food - the nurturing they seek, embodied by food, is denied them. Promises of reward and fulfilment through work unfulfilled for those too young to participate in economic activity.
Another form of imprisonment is implied through conformity to religion. During a scene when the boys are invited to the mosque, the camera is close in to the Imam and his co worshippers, wearing Islamic dress and beards. One of the boys yawns. Religion, with it's imperatives of dress, conformity of appearance, closes down possibility. By contrast, when they're left to their own devices - playing basketball, making slides from discarded car doors or goofing around in a paddling pool with water pistols, freedom expresses itself through camera work which opens out to long, expansive shots. Envisaged by the state as ordered, regimented public housing the cite becomes instead a locus of spontaneity - space around the blocks is reclaimed as somewhere to play. A similar binary operates in The 400 Blows with interior shots (carceral space) contrasted with exterior - the city as a place of exciting potentialities.
In Les Miserables carceral (prison) space manifests through cars. Patrolling the cite the three cops are confined to their car, unable to leave it for fear of attack. Ultimately, the custodians are metaphorical prisoners themselves, in contrast to the kids, who occupy the space of the cite.
There seems little to distinguish the cops from criminals. At one stage, Chris negotiates a favour with the criminal owner of a sheesha lounge. Where's the moral compass? The police here, as representatives of the state, behave in ways which are anything but reasonable and rational. Their lack of integrity shown by their appalling mistreatment of the children they're supposed to protect.
Finally, staircases and trash feature prominently in both les Miserables and The 400 Blows, although as different signifiers. At one point Stephane is at the foot of the stairs of an apartment block, in the foyer, calling for reinforcements, unable to give his position. There's no address on the building, this is nowhere and everywhere. Montfermeil stands for every marginalised, excluded community, indeed estates like this are to be found on the fringes of every French town and city, populated in the main by those considered 'not enough French.'
I'm saying no more. Hopefully after reading this you'll be off to watch les Miserables as it should be seen - on the big screen. Enjoy.
As a Frenchie i can tell you this amazingly sums up our History (we still do riots today actually xD) and If you don't have goosebumps everytime you hear this in the movie you're lying. BBC One - Les Miserables An epic adaptation of Victor Hugo's classic novel in which an extraordinary cast of characters struggle to survive in war-torn France. A story of love, injustice, redemption and hope. On TV No upcoming broadcasts. Whatever your opinion of the movie, I think we can agree this is one of the best trailers ever made. Anyone actually telling you that this movie isn't amazing, just ignore them. Some people don't care for musicals so I understand them not enjoying this film but people actually trying to break down reasons for why this movie wasn't great are just morons. Les Misérables is probably the Anyone actually telling you that this movie isn't amazing, just ignore them. Les Misérables is probably the most intense and dramatic musical I've ever seen. The acting, especially at the top with Hugh Jackman, Anne Hathaway, and Russell Crowe was Oscar worthy. I haven't seen an entire theater cry that much in my life. Sure, Titanic made just about every cry but that was one scene at the very end. There were probably 5 or 6 scenes throughout Les Mis that were so moving, there were sniffles all around. The singing was also very impressive. Jackman is an all-around star and this movie proves that much. I was also really impressed with Crowe and Hathaway. They're not as polished as Jackman but their voices, and how they acted out their roles, fit perfectly. The only actor who came up short was Amanda Seyfried but even she did a commendable job and the character of Cosette wasn't featured as much as the others. I thought the cinematography, the part of the movie the haters are trying to attack because they can't attack any other element, was also perfectly fine. Overall, this was one of the three best movies I saw all year and, personally, I think Anne Hathaway deserves an Academy Award for Best Actress because she was fantastic. I understand not everyone appreciates musically driven films but if you do, this movie is definitely worth spending the movie to see in theaters. … Expand.
Rest In Peace, Marin were glorious❤ And Debra Monk? Everybody's Girl - absolutely love this, did an excellent job. You won't be disappointed, I'm also double jointed! Love it. Cough go aussie bois. Free Full les misérables les. Free Full Les misérables.
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. Les miserables full free. When fandoms unite. Harry Potter, Marvel, Hunger Games, Mamma Mia, and Les Mis. Full movie les miserables 2012 free. Les Misérables streaming Dans la France du 19e siècle, une histoire poignante de rêves brisés, d'amour malheureux, de passion, de sacrifice et de rédemption: l'affirmation intemporelle de la force inépuisable de l'âme humaine. Quand Jean Valjean promet à Fantine de sauver sa fille Cosette du destin tragique dont elle est elle-même victime, la vie du forçat et de la gamine va en être changée à tout jamais. Les Misérables En streaming Les Misérables Film: 2013, britannique, Date de sortie: 13 février 2013 Réalisé par: Tom Hooper Durée: 2h 30min Genre: A La Une, Comédie, Drame, Musical, Allocine: Les Misérables streaming sur Vus: 28478 Fois. Film (Synopsis): Quand Jean Valjean promet à Fantine de sauver sa fille Cosette du destin tragique dont elle est elle-même victime, la vie du forçat et de la gamine va en être changée à tout jamais.
On s'emballe pour pas grand chose. Le bobos. ceux qui mettent leurs enfants das des écoles privées. le plus loin possible de ce milieu... Will pressing the soundtrack on vinyl. This is how this masterpiece should be sung. It it NEVER a good idea to bring in mainstream film actors without or with very little signing experience for musical movies. This is how it should be done. EVERYONE GIVE IT UP FOR AMERICAS FAVORITE FIGHTING FRENCHMeN. Free Full les misérables.
Cosette is so lucky omg. Free Full Les miserables. Free Full les miserables. 4:57 Can`t take my eyes off that butterfly. Fandom Name: Les Misérables Abbreviation(s): Les Mis, Les Miz Creator: Victor Hugo (novel), Schönberg and Boublil (musical) Date(s): 1862 (novel); 1980/1985 (musical); 2012 (movie based on musical); 2018 (BBC miniseries) Medium: novel, musical, films, miniseries, etc. Country of Origin: France External Links: Original novel, musical, 2012 film and BBC miniseries on Wikipedia Click here for related articles on Fanlore. Contents 1 Canon 2 Fandom Overview 2. 1 Book Fandom 2. 2 Musical Fandom 2. 3 2012 Film 2. 4 BBC Miniseries 3 Prominence of Modern AU 4 Fanworks 4. 1 Common Fic Tropes 4. 2 Fanfics 4. 2. 1 Crack Crossover 4. 3 Vids 5 Fan Interviews 6 Links & Resources 7 References Les Misérables is a 1862 novel by Victor Hugo that was adapted into a famous musical, as well as numerous films, plays, miniseries and other media. A film version of the musical was released in 2012, causing a resurgence of the fandom. There are differences between the different canons in terms of structure and character motivations. The earlier film adaptations in particular drop extensive sections of the source text, often choosing to focus on Javert and Jean Valjean. Much of the modern fandom focuses on Valjean and Javert, but also on Les Amis de l'ABC, a student revolutionary group appearing in the latter half of the story. Canon The story is set in early nineteenth-century France and primarily follows the life of ex-convict Jean Valjean. In 1815, after being imprisoned for nineteen years for stealing to feed his family, Valjean is released on parole. After a bishop shows him mercy after he steals from him, Valjean decides to change his ways and breaks parole. With his new identity, he becomes the beloved mayor of Montreuil-sur-Mer. He is under suspicion by his former prison guard, now the dutiful Inspector Javert. Valjean meets Fantine, who has been forced into prostitution to get money to send to an abusive innkeeper couple, the Thénardiers who are keeping her illegitimate daughter, Cosette. Fantine dies and then Jean Valjean retrieves Cosette. After a period of time, Valjean and Cosette are now living in 1832 Paris where Marius Pontmercy spends time with the revolutionary group of friends, Les Amis de l'ABC, led by Enjolras. This changes when he sees Cosette and Jean Valjean being ambushed by the Thénardiers, including their daughter Éponine, and falls in love with Cosette. To Éponine's disappointment, she returns his feelings. Valjean, more paranoid about being found by the police this encounter, decides that he and Cosette must leave France. Marius is devastated, and goes to join Les Amis de l'ABC at the barricade. Fighting occurs, and Éponine sacrifices herself for Marius and Les Amis de l'ABC are killed by the National Guard. However, Jean Valjean finds out about Cosette's love for Marius and goes to the barricade and rescues Marius. He also frees Javert, who is imprisoned by the revolutionaries for attempting to spy on them. This is despite the fact that he had a chance to kill Javert and be free from the police at last. They escape through the sewers, where Javert finds them. He allows them to go free, and with his soul in conflict about whether or not he has done the right thing, commits suicide by throwing himself into the Seine. Marius and Cosette are married, and Jean Valjean leaves them to live without fear of the police finding him and ruining their life. After leaving Cosette, his health declines. Just before he dies, Marius finds out that Valjean saved him at the barricades, and he and Cosette return to him and they reconcile before he dies. Fandom Overview This article or section needs expansion. which adaptations, which pairings, characters, tropes, trends etc. Today, most fannish attention involves the Javert/Jean Valjean pairing or Les Amis de l'ABC, especially Enjolras/Grantaire. One fan recalls: I think it's easy to forget that Les Mis fandom really wasn't slash-heavy until maybe the 25th Anniversary Concert [in 2010], which played up E/R. Before that point, Valvert may have outnumbered actual E/R, and Valvert was also a fairly rare pair. There was a lot of "pre-slash" and a lot more Romantic Friendship on the Amis side. Any slash was pretty dripping with angst and shame. [1] The most popular femslash ship is Cosette/Éponine Thénardier. Popular het ships include Cosette Fauchelevent/Marius Pontmercy, Enjolras/Éponine Thénardier, Marius Pontmercy/Éponine Thénardier and Montparnasse/Éponine Thénardier. The most popular polyships are Joly/Bossuet Laigle/Musichetta and Cosette Fauchelevent/Marius Pontmercy/Éponine Thénardier, the latter of which solves an infamous canon love triangle. Book Fandom The novel, approximately 1900 pages long in its original French version, [2] is affectionately known by fans as "The Brick" and is infamous for its numerous digressions about only marginally-related topics (notably, the Battle of Waterloo and Paris's sewers). Much of the book fandom focuses on Les Amis de l'ABC (the Friends of the ABC), or "Les Amis". Les Amis are frequently shipped in a variety of slash combinations, with the most common pairing being Enjolras/Grantaire ("E/R"), despite some fans believing that Enjolras is depicted as asexual in the novel. Javert/Jean Valjean stories based on book canon are likely to be set in Montreuil-sur-Mer era, when Valjean is mayor under the assumed name Monsieur Madeleine, or in a post-canon scenario where both of the characters avoid their canon deaths. Musical Fandom The musical fandom is centered around the Abaissé forums, and involves much comparison of different stagings and meta discussion. What musical-based fanfiction that existed before the 2012 movie was usually posted on or private websites. 2012 Film There was a large increase in the fandom after the film was released. As with many Tumblr -era fandoms, much of this new activity manifested itself as gifsets. The movie also brought a large influx of fanfiction. Prior to December 25, 2012, the U. S. release date of the film, there were only about 100 works marked Les Misérables on AO3. [3] By April 2013, this increased to over 2, 000 works. [4] Similarly, activity at the Les Mis kink meme at makinghugospin increased dramatically with the release of the film. From November 2009 to December 2012, the kink meme accumulated under 10 pages of comments; by April 2013, the meme is on its fourth round, with a cumulative total of approximately 150 pages of comments. [5] As of January 24th 2014, makinghugospin is located on Dreamwidth. [6] BBC Miniseries The 2018-2019 BBC miniseries adaptation of Les Misérables, often called BBC Les Mis, reenergized the fandom for a period of time, though not as much as the 2012 musical film. The miniseries was also much less well received by the fandom, with many criticizing liberties taken from the source material as well as issues in characterization. The title ’Les Misérables’ refers to us, the poor people watching this mess of a show. [7] However, others have countered that the existing fandom's negative reaction is due to the extensive fanon that has been developed around Les Amis, and consider the miniseries to be more in line with the book. Prominence of Modern AU After the film adaptation brought in a large amount of new fans, Modern AU fanworks became so common that they were considered the norm in certain parts of the fandom, particularly on Tumblr and AO3. The phrase Canon Era became widespread to differentiate between the two, with Les Misérables being the second most common fandom for the Ao3 tag, just after fandom that coined it. tbh one of the more subtly chaotic fandoms was les mis, because modern aus became so common they stopped being labelled all the time because it was just Assumed it’d be a modern au. but there were still original time period works scattered in so you’d have a fucking schrodinger’s cat situation where everyone is both in 1800’s and the current day until someone whips out a cell phone. [8] Fanworks Common Fic Tropes Several categories of fic have appeared or grown greatly in popularity as compared to the pre-movie fandom. Some of these are: Modern AU, mainly centered on the Les Amis. Frequently, the student rebellion group and the other young characters are moved from the canon setting to US or UK university environments. They might be interested in social justice, though more general student-life fics also appear. Reincarnation AU, generally focused on Les Amis, with the characters in a modern setting becoming aware of their deaths on the barricade. Sometimes they are aware of each other before they gain awareness of their past lives, others include them getting to know each other after the fact. Often this is used to encourage the Enjolras/Grantaire pairing, as their death scene is one of their most shipper-friendly scenes. Punish Me, Monsieur le Maire -fics have become a trope of their own for the Valjean/Javert pairing. [9]. They are centered on the scene in which Inspector Javert asks for Jean Valjean, in his guise as Mayor Madeleine, to punish him for the infraction of reporting "Madeleine" to the authorites. Because another man has been arrested and is believed to be Valjean, Javert feels he has done a gross infraction. They often contain a combination of dubious consent, identity porn and informal BDSM. The sub-genre is clearcut enough that it has spawned at least one parody fic. [10] Post-Seine. A type of fixit fic, where a character (usually Valjean) saves Javert from the river, and they then often end up in a relationship together. This category of fic existed before the movie. Often contain some amount of hurt/comfort. Fanfics e/R ( Enjolras/Grantaire) Apollo by lannisterrss, a popular Enjolras/Grantaire college AU College Boys and High School Girls by defying3reason, a lengthy college AU with social justice overtones and some controversy. Paris Burning by thecitysmith, a Enjolras/Grantaire fic in which Grantaire is the personification of Paris, which has spawned countless spinoff works. Talk Revolution to Me, Baby by truethingsproved, a light-hearted Les Amis -centric college AU World Ain't Ready by idiopathicsmile, a high school AU set in the early 2000s where Enjolras and Grantaire pretend to date. Valvert ( Javert/Jean Valjean) and see before the night descends by plumedy, a post-Seine fic based off the 1998 movie canon A Reflection of Starlight by AutumnGracy (Brick-based), a slow burn, WIP, canon divergence, post-Seine longfic where Valjean saves Javert from suicide. Her Favorite Color by Pygmy Puff (ppuff), a canon divergence AU where Valjean agrees to stay in prison if Javert takes care of Cosette. Angsty with MCD and only slash if you squint. Life After the Seine by Esteliel, a post-Seine adventure. Our Manager Must Learn by TheLifeOfEmm, an angsty Phantom of the Opera crossover. Content warning for torture. The Man You Take Me For by scioscribe, a mostly gen angsty what-if based on the idea of what would happen if Valjean had not given himself up to save Champmathieu. The Resignation of Inspector Javert by Wraithwitch (Brick-based). A post-Seine scenario, where Valjean saves Javert. The fic successfully pastiches Victor Hugo's narrative style. Toil Until the Old Colours Fade by drcalvin, a Javert-focused Groundhog Day AU. Two Ships Passing by Carmarthen, a 5+1 Things AU. 5 universes where Valjean and Javert never meet, and the one where they do. Three Days (or The One Where Javert and Valjean Take a Road Trip Through France and Raise a Child) by zamwessel (2012 movie-based). Three Days uses a What if? scenario where Javert choses to follow Valjean to Montfermeil and they end up rescuing Cosette from her abusive situation. It was one of the first long-fics in the post-movie fandom for the ship and remains widely recced. Crack Crossover The AO3 story Inspector Javert and the Eighth Wonder of the World crosses Les Misérables with King Kong! Vids A Little Fall of Rain- Les Miserables ANIMATIC (wip) by MICHO Daybreak -- Entry for Valvert Exchange #2 by vejiicakes Les Misérables | born to die by VilyaXxX0llwyna Les Misérables | kings and queens (les amis de l'abc) by connari Les Miserables | Radioactive by 95Ellius Les Misérables | the children of the barricade | blow by VilyaXxX0llwyna Javert vs Enjolras — Epic Rap Battles of Historical Fiction by Jonathan von Mering oh my god did i try by Person Whatname "Scream and Shout" + Les Miserables Parody - "Dream and Shout" by teddiefilms {YTP} ~ 24601 Releases a Sammich on Parole by DaThings Fan Interviews See Category:Les Misérables Fan Interviews. Links & Resources Les Misérables - All Media Types at AO3 Les Misérables (novel) at AO3 Les Misérables (musical) at AO3 Les Misérables (2012 film) at AO3 Les Misérables (novel) & Les Misérables (musical) at makinghugospin, an anonymous kink meme ExR-cache, a tumblr for fanfic recs References ↑ Re: Les Misérables, comment at fail_fandomanon on Dreamwidth, 14 February 2018. (Accessed 17 February 2018. ) ↑ See Les Misérables#Novel form at Wikipedia. (Accessed 01 April 2013. ) ↑ According to the Les Misérables - All Media Types tag, sorted by date posted. ) See also the archived version of the page, taken by the Wayback Machine in April 2012, showing 68 works. ↑ As of April 1, 2013, there are 2316 works tagged Les Misérables - All Media Types. ↑ makinghugospin's Les Mis Anon Kink Meme. Round 1, Round 2, Round 3, & Round 4. ) ↑ [1] ↑ A fan reaction to BBC Les Mis on Tumblr, January 20th, 2019 ↑ gavrockandroll on Tumblr about the Les Mis fandom, 2018 ↑ An incomplete listing was made on the fail_fandomanon meme (April 01 2013) with the title Please Punish Me, Monsieur le Maire: An Index ↑ Making Amends at Archive of Our Own (accessed April 01 2013).
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Enjolras: We must fight. Marius: But I'm in love. Grantaire: But he's in love. Enjolras: We must fight. Marius: Have you ever been in love? Grantaire: Yeah, have you ever been in love? Enjolras: Only sissy boys are in love. Marius and Grantaire: We must fiiiiiight.
Lea Solanga isn't just gifted, She is a Gift! I can't see for the tears in my eyes.
Fight. Dream. Hope. Love. "Do you hear the people sing? Singing a song of angry men. It is the music of a people who will not be slaves again! When the beating of your heart echoes the beating of the drums There is a life about to start when tomorrow comes! " — Do You Hear the People Sing? Les Misérables is a 2012 film version of the stage musical of the same name, itself an adaptation of Victor Hugo's epic novel of the same name. While primarily based on the musical, the film also incorporates elements from the novel that were left out of the original production. Like the novel and musical, the film chronicles the story of Jean Valjean ( Hugh Jackman) a reformed criminal who becomes mayor of a small town in France. After one of his workers, Fantine ( Anne Hathaway), is outed as a single mother and resorts to prostitution before dying, Valjean takes custody of her daughter Cosette ( Amanda Seyfried as an adult) from the scheming Thenardiers ( Sacha Baron Cohen and Helena Bonham-Carter). Some years later, Valjean and Cosette have moved to Paris, where sparks fly between her and young bachelor Marius ( Eddie Redmayne). Marius is also a member of a revolutionary group led by Enjolras ( Aaron Tveit), and is oblivious to the feelings of the now-impoverished Thenardier daughter Eponine (Samantha Barks). Inspector Javert ( Russell Crowe), the officer who granted Valjean's parole, tries to maintain order as revolution brews in Paris, while Valjean risks his identity being discovered by Javert, who does not believe he has truly reformed. It was produced by Cameron Mackintosh and directed by Tom Hooper. A sung-through musical, the film is notable for Hooper's decision to have the vocals recorded live on set, as opposed to having the actors lip-synch to pre-recorded tracks, to create more natural performances. In addition to tropes inherited from both the novel and the stage adaptation of this story, this film provides examples of: A Day in the Limelight: The "On My Own" trailer introduced Samantha Barks (Eponine) to international audiences. Accent Adaptation: As is standard for the musical, British Accents are substituted for their French equivalents, resulting in a Paris full of Cockney prostitutes and street urchins. Accidental Misnaming: Thénardier always gets Cosette's name wrong, especially when he's proclaiming how much he cares for her. At one point he even calls her "Courgette" which is the French (and British English) word for zucchini. Adaptational Attractiveness: Helena Bonham-Carter is this yet again, along with Sacha Baron Cohen as the Thenardiers. In the novel, Mme. Thenardier is a massive, muscular woman with highly masculine features, and is frequently compared to an ogress. M. Thenardier is described as a sickly-looking "runt" who is not at all good looking. Performances of the musical tend to cast actors whose physical appearance along with make-up more or less fit those descriptions. However, Bonham-Carter in the role is made-up to look blowsy looking but otherwise has no change in her appearance, and Cohen, while showing a bit of Thenardier's creepy vibe, is probably the best looking and most stylishly dressed incarnation of the character. In the book and to a lesser extent in adaptations, Valjean looks like an old man by time he rescues Cosette (and in the book has stark white hair after being Locked into Strangeness). In the film, he's Hugh Jackman. The younger actors fall into this too. Eponine in the book is scrawny, dirty, and not attractive at all, but in the film she is portrayed by the lovely Samantha Barks. Same goes for several of the barricade boys, who are invariably attractive onscreen. Grantaire in particular is said to be ugly. His actor, George Blagden, is the opposite. Adaptation Distillation: Inevitable, given the source material, as well as the length of the stage adaptation. For example, the Amis, who all have unique personality traits in the book, are barely named in the stage version, and so the group as a whole almost goes unnamed over the length of the film, save for Enjolras. Two of the other boys are mentioned by name, but they're hard to hear in the chaos of the film and watchers unfamiliar with the musical or the book wouldn't know they were names - it's a wonder they bothered including the characters' names in the credits, especially considering that at least 2/3 of the other men at the barricade didn't have named parts (or even lines) at all. Adaptation Expansion: The film manages to adapt a few elements from the novel that were cut from the stage musical including Valjean and Cosette escaping from Javert and living in a convent where the man Valjean rescued from the runaway cart works as a gardener, Marius' grandfather and his disapproval of his grandson's politics, and Marius driving away the army from the barricade by threatening to blow it up with gunpowder. Adaptation Dye-Job: Fantine is a blonde and Cosette is a brunette in the book, and in most versions of the stage production. In this film, the hair color roles are reversed. The switch of Cosette's and Fantine's hair colors may likely have been done with the purpose of making it easier to tell Cosette apart from Eponine, who in turn is auburn-haired in the book but is brunette here. Dark-haired Marius is a redhead in the film. Madame Thénardier is traditionally portrayed as a redhead; here, her hair is blonde (at least until she ages, then her hair becomes a light gray). Adaptational Heroism: A minor case with Grantaire, who appears not to have gotten dead drunk and slept through most of the uprising. Even Thénardier has a very brief moment when he willingly points Valjean towards the sewer's exit. Of course, he eventually reverts back to his scoundrelly self in his next scene. Of course with Javert it varies depending on the production. But here he's portrayed as much less malevolent than he usually is. He's shown to genuinely believe that what he does is for the people's own good - and is truly sorry when he thinks he's mistaken Valjean for a former convict. This is a case of Truer to the Text, as in the equivalent chapter of the book Javert urges Valjean to dismiss him for his seeming false accusation. Eponine is not shown bullying Cosette as a child with her parents (which she does in the novel). She's much less bitter over the Marius and Cosette situation, coming across as merely broken-hearted that Marius does not love her back. The part where she hides the letter comes across as more of a heat of the moment act of despair - rather than the deliberate attempt to sabotage the relationship in the novel. Another part is where she screams to alert Valjean and Cosette that her parents are outside the house - where in the novel she only threatened to do so. The Army Officer is clearly Just Following Orders and does not enjoy seeing Gavroche get killed by his men. See Backstory Horror to see how this applies to his final confrontation with Enjolras. Valjean's last lines from "The Confrontation" are removed, specifically the line "If I have to kill you here I'll do what must be done! " which really comes across as Not Helping Your Case in the play. (It also helps to emphasise Javert's Not So Different rant. ) Adult Fear: Fantine's life is one fear after another. First, the overseer of your workplace is a lecherous man who can fire you out of spite if you refuse him, then he does and you find yourself jobless, and then you land yourself a lowly, undignified job in the brothel. And if that's not bad enough, you also have a daughter you've left with questionable guardians who, unbeknownst to you, abuse her and work her like a dog under their roof. Valjean has even MORE on his plate. He learns too little too late that one of his employees (Fantine) was not only wrongfully fired on his watch and reduced to a prostitute since, but she's gravely ill and growing worse.... And then she dies. One part driven by guilt for Fantine's death and one part out of fatherly instincts, Valjean has to be Cosette's new guardian, despite never raising a child before. Since then, he's always on the run with his adoptive daughter in tow, afraid that if he's caught, he'll be arrested and poor Cosette will be shamed. Affectionate Pickpocket: The Thénardiers, as seen in "Master of the House" and "Beggars at the Feast". Alas, Poor Villain: Don't act like you didn't feel at least a bit sorry for Javert. Antagonist in Mourning: After the battle of the barricade, Javert pins his own medal to Gavroche's body. Tom Hooper's added backstory has Army Officer fall into this. Hooper had Tveit (Enjolras) and Fraser (the Army Officer/Loudhailer) act as if they both grew up together. A Freeze-Frame Bonus zoom on the Army Officer's face has him looking relatively distressed as he takes his shot at Enjolras and Grantaire. He doesn't look exactly happy after Gavroche's death, either. Armor-Piercing Question: Marius flinches when Enjolras asks "Is this simply a game for a rich young boy to play? " Backstory Horror: When Eponine dies, the camera deliberately pans to show Gavroche, tears running down his face. This has extra resonance for those who have read the book, which explains that Eponine is his sister. Javert mentions he was born in jail. In the novel it's revealed that his mother was a fortune teller who lived in jail while her husband was serving his time, and that the boy spent several years being raised in what was basically a hellhole. Explains a lot of his adult personality. Tom Hooper had Aaron Tveit (Enjolras) and Hadley Fraser (the Army Officer) act as if the Army Officer/Loudhailer and Enjolras grew up together as childhood friends. A Freeze-Frame Bonus zoom on the Army Officer's face shows him more distressed than determined when he takes his shot at Enjolras and Grantaire. It may also explain why the Army Officer is more sorrowful sounding than authoritative when he addresses Enjolras, as most versions of the character would be. Badass and Child Duo: Valjean and young Cosette, amped up from the stage version by reincorporating the sequence from the novel where they flee Javert through the dark streets of Paris. Barefoot Poverty: Cosette as a child, and Eponine as an adult. Beauty Is Never Tarnished: At least if you're a person of romantic interest, the trope is played with: Fantine gets to be properly tarnished during her fall from grace, but Eponine is remarkably clean and well-nourished for someone living the life she has, and Little Cosette remains quite rosy-cheeked. Big Brother Mentor: Courfeyrac towards Gavroche. When he sees Gavroche trying to collect ammo, he desperately tries to climb over the barricade to bring him back and is devastated when the army kills him. Blonde, Brunette, Redhead: The characters involved in the Love Triangle: Marius (redhead), Cosette (blonde) and Eponine (brunette). The three most notable members of Les Amis: Marius (redhead), Enjolras (blond) and Grantaire (brunette). Brick Joke: The unnamed Father Christmas guy in "Master of the House". But for Me, It Was Tuesday: Of a rare My God, What Have I Done? variety, as Jean Valjean discover himself to be the person who caused Fantine's misfortune without even noticing. Call-Back: As Valjean sits alone in the convent in the final scene, he sings that he 'dreamed a dream' Cosette stood by, and that he is all alone 'at the end of the day' - a callback to two of Fantine's songs. Not long after, Fantine appears to guide him to the afterlife. Cast Full of Pretty Boys: After Les Amis (who are all attractive young men) are introduced. Chekhov's Gunman: Fauchelevant, the man Valjean saves from being crushed in "Runaway Cart", has this role restored to him among the bits from the novel added back in. Close on Title: The film has no opening credits, causing the title card to show up during the end credits instead. Compressed Adaptation: Compared to the original novel, yes. But the film is actually decompressed somewhat from the stage version, with several plot points and at least one character (Marius' grandfather) restored. Covered in Gunge: Almost everyone in the film to some extent except for adult Cosette; especially Valjean and Marius after their escape through the sewers. Creator Cameo: Cameron Mackintosh and Claude-Michel Schönberg are both singing in the ending barricade. They're both in costume so it's hard to recognize them. Darker and Edgier: While the musical is widely acknowledged for being unusually grim and pessimistic by the genre's standards, the movie goes even further by averting Bloodless Carnage, adopting the Dung Ages approach for the depicting the historical era, and generally eschewing the highly stylized sets of the musical in favour of gritty naturalism. Dark Reprise: "Suddenly" is Valjean singing how adopting Cosette will change his life for the better. It's reprise is about how heartbroken she is that he's decided to leave so his past will not tarnish her reputation. Dead Star Walking: Much of the advertisements focused around Ann Hathaway as Fantine, with her main solo being the main theme for most ads. She is the first character to die in the story, years chronologically before the failed revolution happens. Dies Wide Open: Fantine and Gavroche. Distant Finale: The ending was supposed to take place in 1848, when Louis Phillipe was ousted. This was cut because that revolution was led by Napoleon III, who was an archenemy of Victor Hugo. Dramatic Irony: Valjean refuses Javert's sword as a sign off his resignation for falsely accusing him off being a convict. Javert ends up almost killing Valjean with that sword during "The Confrontation". Due to the Dead: No one shoots at Courfeyrac when he comes out to collect Gavroche's body. The Dung Ages: The movie pulls no punches in depicting the squalor of early 1800's Paris. There is grime, dirt, and sludge everywhere and, at one on point or another, on everyone. Dutch Angle: Used often to the Thenardiers in order to make them seem more unpleasant. It's also used at the beginning of Marius's meeting with Valjean, to reflect his excitement about being married to his daughter. Eternally Pearly-White Teeth: Valjean got his teeth fixed after getting rich. Eponine is the worst offender. She has to be the cleanest street urchin ever. The Everyman: Valjean, who carries this status over from the book and musical. It's worth noting that though he isn't named in the film, Combeferre (blond in the blue vest and red tie played by Killian Donnelly) is the most active of the revolutionaries in film and manages to represent the average man in every sense of the word in his actions on the day the barricades rose: He's enraged at the death of an innocent woman and drags out the man responsible before shooting him; he is angry with Marius when he threatens to blow the barricade to ward off the soldiers; he tries to call Gavroche back to the other side of the barricade and holds back Courfeyrac when the latter attempts to save Gavroche; and still tries to find refuge for his friends and shield them even when the situation is hopeless. Face Death with Dignity: Zig-zagged. When cornered, Enjolras and Grantaire stare down the soldiers and defiantly raise the red flag. The other boys are shown variously to be desperate or scared, with some audibly whimpering or even crying. Family-Unfriendly Death: Not only does Javert jump into the river, he lands on a ledge with such a loud CRACK! there's zero chance he survived. Foreshadowing: "Stars" is staged with Javert standing on top of a building looking up at the stars and down on the city; the staging is echoed, in some places shot-for-shot, for "Javert's Suicide", making the latter a visual Dark Reprise. Furthermore, both times he teeters on the edge, walking the fine line between safety and doom. In several shots, there is a not at all subtle eagle sculpture behind him, giving him an angelic wing on one side, and the night's sky representing darkness and doom on the other. Fourth Wall Psych: In Gavroche's reprise of "Look Down", he is addressing other characters, rather than the audience as he did in the stage show. As a result, when he says the line, "How do you do? My name's Gavroche" the line is addressed to a rich man whose carriage he's just invaded, who looks like he'd just as soon have foregone the acquaintance. At one point he appears to be directly speaking to the camera, but the next change of camera angle shows that he's actually speaking to a group of his fellow urchins. Funny Background Event: In "Attack at the Rue Plumet", one of Mr. Thenardier's henchmen is trying and failing to climb a wall after Eponine scares them away. In "One Day More, " when Marius comes to the cafe and declares he's going to fight, Gavroche is behind him with a fist pump and an audible "Yeah! " Two guys behind the bar also raise their cups to him. Go Out with a Smile: Fantine, after hearing that Valjean will take care of her daughter, dies smiling. Hidden Buxom: Eponine wraps herself up to look like a boy in "One Day More". High-Dive Escape: Valjean escapes from Javert at the hospital by leaping from a window into the river. Hoist by His Own Petard: A subtle one for Javert: When the students are building the barricades, Javert is seen hiding something behind a cabinet at the Corinthe tavern. When Gavroche rats him out, he runs to get it, revealing it to be a baton that he intends to defend himself with—which the students then wrestle out of his hands and use to knock him out. Hollywood Old: Valjean, Javert, and the adult Thénardiers don't change much during the years that Cosette and Eponine grow from Isabelle Allen and Natalya Angel Wallace into Amanda Seyfried and Samantha Barks respectively, except that some of their hair greys up a little bit. I Love the Dead: Considering her life as a sex worker to be A Fate Worse Than Death and metaphorically death itself, Fantine accuses her clients of this in her Despair Song: " Just as well they never see the hate that's in your head! Don't they know they're making love to one already dead? " Incurable Cough of Death: Fantine starts getting one during "I Dreamed a Dream", which worsens thereafter. At "Fantine's Death", you can see bloodstains on her bedclothes suggesting she's progressed to coughing up blood. Inelegant Blubbering: Hugh Jackman 's rendition of "Valjean's Soliloquy" has him sobbing and slurring over some of the words. The style in which Anne Hathaway sings "I Dreamed a Dream", complete with dripping snot. Emphasized by the entire song being The Oner with a closeup on her face. Hathaway stated in an interview that unlike in the musical, the film’s actors weren’t all cast to be able to wow the audience with their stellar voice alone, so she imbued her performance with as much raw emotion as possible. It earned her an Oscar, so it had been a good idea. Eddie Redmayne sobs all over his "Empty Chairs At Empty Tables". Ironic Echo: Valjean says of Cosette in Suddenly, "Yesterday I was alone/Now you are beside me". As he dies later, he says "Now you are here again beside me". Karma Houdini: The Thénardiers get roughly carried out of Marius and Cosette's wedding (after Marius has punched Monsieur Thénardier in the face), but otherwise they apparently suffer no punishment for their misbehaviors. Kick the Dog: In "Master of the House", the Thénardiers are seen replacing an outgoing guest's luggage with a baby carrier (complete with baby) and Monsieur Thénardier casually chops off a cat's tail to fill up the sausages with this and that. Word of God says that the baby is an infant Gavroche, given that Gavroche is supposed to be ten when the main action happens, which is nine years after "Master of the House"'s events happen. And given details mentioned in other trope entries. Killed Mid-Sentence: Eponine dies as she was about to finish singing "rain makes the flowers grow". Gavroche, during his song, "Little People". Leaning on the Fourth Wall: If the beginning of the film is matched to the theater version, from Valjean's release to the gift of the silver is the "Prologue. " Then, Valjean sings "a new story begins, " just as the film proper starts. Little "No": Type I from Javert, when Valjean tells him his parole means he's now free. This carries over from the stage show. Love Redeems: Be it friendship, familial or romantic, this is an overarching common theme in the growth of several characters. Lyrical Dissonance: "Lovely Ladies", an upbeat number about the demoralizing life of being degraded to a prostitute. "At the End of the Day" has parts in F-minor and F-major where the factory workers sing about how the lives of the poor people just keep getting worse and worse. Manly Tears: When Eponine dies, Marius cries, Gavroche is silently weeping, and a Single Tear falls off Enjolras's eyelashes. Courfeyrac sobs after Gavroche dies. During "Empty Chairs at Empty Tables, " Marius sheds one Single Tear. Valjean during his soliloquy and his death. Meaningful Background Event: After Enjolras gives Javert to Valjean, Combeferre can be seen in the background saying, "No. No, Enjolras" - and being ignored. Meaningful Echo: In a way, "Valjean's soliloquy" and "Javert's Suicide". Valjean and Javert sing the same lines at the end of each song, but one ends with Valjean starting over clean and one ends in Javert's suicide. When the Bishop hands the candlesticks to Valjean, after he had discovered Valjean had stolen all of his silverware; it's a Freeze-Frame Bonus moment, but at the beginning of "Who Am I? ", they can be seen on his table. When Valjean leaves Cosette and Marius to retire to the monastery to die, the candlesticks are right beside him once again. Meet the New Boss: Gavroche takes this view regarding Louis Philippe I's July Monarchy in "Look Down (The Beggars)". There was a time we killed the King We tried to change the world too fast Now we have got another King He's no better than the last Movie Bonus Song: "Suddenly" is a new song created for this production, in which Valjean sings about how his life has been opened up by Cosette. It was written by the same songwriters as the other songs in the musical, making it blend in better. There are also several dialogue songs such as "Javert's Introduction" written to convey extra information whilst keeping the film as completely sung-through. My God, What Have I Done? : Jean Valjean does this twice. First when he is saved by the Bishop he robbed, and later when he finds out that he ruined Fantine's life without even noticing. Mythology Gag: The "Work Song" features the convicts pulling a ship into a drydock, which may be a reference to some earlier adaptations (including at least one production of the musical) which depicted the convicts as actual galley slaves. As Young Cosette sweeps and sings "Castle on a Cloud", if you freeze at the right moment, there's a momentary live-action reproduction of the famous engraving of Cosette sweeping ◊ that became the musical's emblem. At the end of "The Confrontation", Valjean escapes Javert by jumping off a window into a body of water. At that point in the original novel, Valjean was recaptured and brought back to the galleys, but escaped by pretending to drown. The elephant statue from the Brick makes a cameo in the film. Valjean and Cosette being chased through the streets of Paris by Javert before climbing over a wall to escape and take refuge in a convent is straight out of the book. Valjean being greeted by the Bishop as he walks into heaven. In the book, when he tells Cosette that he already has a priest and points upward, the narration implies that the Bishop is indeed bearing witness to his impending death. Never Trust a Trailer: The international trailer seems to show Valjean is an active member of Les Amis, and the movie's climax is a final showdown between him and Javert. Object Tracking Shot: After Valjean tears up his parole record and tosses it away, the camera follows a piece that floats up to the sky then swiftly falls as the film does the first Time Skip to "At The End of the Day". May be a possible Call-Back to an older adaptation that used a similar shot. Offscreen Teleportation: Javert. Constantly. To the point of being somewhat memetic. Oh, Crap! : When told by Endros that they are the last barricade standing and that the people have not arisen like they thought, the remaining students stare blankly at each other, thinking "What am I dying for? " The Oner: The film sometimes pushes its (primarily film rather than stage) actors really hard in this regard. The most magnificent example of this is probably Anne Hathaway 's spectacular rendition of "I Dreamed a Dream", which is done in one take and goes through Dull Eyes of Unhappiness, nostalgia, regret, sobbing and panicked gasping all while keeping the camera focused firmly on her face. Ooh, Me Accent's Slipping: The accent that Sacha Baron Cohen uses as Monsieur Thénardier varies from kind of lower-class British to slightly over-the-top French when he's trying to impress someone. May be appear odd and somewhat jarring due to the fact that he's the only one to use a French accent and play with the Translation Convention. Valjean in early scenes (especially What Have I Done? ) sounds suspiciously Irish. Despite the fact that the lead roles went mostly to Americans and Australians, it's surprising that so many people's solos have various shades of English accents throughout the movie. Irish. Fra Fee (Courfeyrac) can't seem to keep his Irish accent from making frequent appearances. For example, the slip that occurs at around 0:35 of this scene. Opening Scroll: Opens with one, clarifying that this film is not about THE French Revolution, but a later rebellion, the Paris Uprising of 1832. 1815. TWENTY SIX YEARS AFTER THE START OF THE FRENCH REVOLUTION. A KING IS ONCE AGAIN ON THE THRONE OF FRANCE. Pet the Dog: See Worthy Opponent. Piano Drop: During the barricade construction scene, someone throws a piano out of a top floor window to add to the structure. The Plague: "Plague" was substituted for "The winter's coming on fast, ready to kill" on "At The End Of The Day". Considering the squalid conditions, an outbreak isn't so farfetched. Punctuated! For! Emphasis! : "The Confrontation" Valjean: "All I did was STEAL! SOME! BREAD! " Pyrrhic Victory: Javert is horrified by the army's victory against the students. The Queen's Latin: The cast is primarily composed of American and Australian actors. Not only do most of them speak The Queen's French, but many of the lower-class characters speak Cockney French. Ray of Hope Ending: The revolutionaries lose the fight against the corrupt government, but Marius survives and gets married to his beloved Cosette, Valjean dies in peace, and the epilogue suggests the revolution will fight another day in liberating France. Real After All: The majority of characters in the stage musical are pessimistic about the existence of the afterlife and God. The movie's ending refutes this. Real Men Love Jesus: Valjean's religious outlook on life is restored to how it is in the book (some productions of the musical may downplay it). The more classical kind of this goes, as usual, to Javert, a change inherited from the musical (in the book, religion never enters Javert's thoughts until Valjean shows him mercy, but let's face it, it would have looked pretty silly for Javert to pray to a Lawbook). Reckless Gun Usage: Enjolras took away a musket from the hands of a reckless student in "ABC Cafe". Remake Cameo: Colm Wilkinson, the original Jean Valjean, as the Bishop of Digne. Frances Ruffelle, the original Eponine, has a cameo as one of the whores in "Lovely Ladies". Apparently, her character was dubbed "Most Fabulous Whore". Hadley Fraser, who has played Marius, Javert and (most famously) Grantaire, is the officer leading the attack against Les Amis ABC. Katie Hall and Gina Beck are some of the women on "Turning". Katy Secombe, who played Mme. Thenardier in the 2011 London production, appears as a woman aiding the Friends of the ABC (she's the lady whose red flag was taken by Marius during "One Day More"). Ridiculously Difficult Route: Unlike in the source materials where they are Absurdly Spacious Sewers, the sewers in this adaption are this. Valjean has to force himself and Marius through a tiny tunnel, and the parts where the ceiling is high enough to stand are so filled with gunk that it's easier to drown. Rule of Symbolism: Javert's habit, if you can call it that, of walking on high ledges. Weird? Yes. Dangerous? Yes. Demonstrative of his belief that he is morally superior (and therefore higher), that God will not let him fall, and foreshadowing for his eventual death? Oh hell yes. The eagle and night sky behind Javert forming an angelic wing and void. The barricade erected by the doomed revolutionaries has coffins mounted on the front of it. It has a big red coffin and a small blue one. What were Enjolras and Gavroche wearing? As Valjean prays to God in "Bring Him Home", a giant eye "Looks Down" on him from a billboard in the background. In "A Little Fall of Rain", Eponine and Marius lean on a French flag, with the words "La Mort" clearly visible. And what does it mean? Death. Makes one wonder what's going to happen to her and the barricade boys. Colm Wilkinson, who played the original Jean Valjean in the stage version, appears as the Bishop of Digne. When he gives Hugh Jackman 's Valjean the silver candlesticks in the movie, he is Passing the Torch of Jean Valjean. Plus a number of actors that make up the barricade boys also played Marius or Enjolras in the stage versions. "Don't they know they're making love to one already dead? " sings Fantine at the end of "Lovely Ladies", and for "I Dreamed A Dream, " she spends the next few minutes in a box resembling a coffin, complete with pillows note. Screw This, I'm Out of Here! : As the revolt starts going badly for the students, many try to escape the barricade into the near-by houses. The occupants lock them out instead. Shout-Out: When Marius asks Eponine to tail Cosette for him, they spar lines set to the melody of "I Was Made For Loving You" by Kiss. The hymn sung on the barricade has chords and a melody that suspiciously sound at times like the "Chant des Partisans", the hymn of the French Resistance during World War II. Shown Their Work: During Javert's roof walking sequence in "Stars", there is a shot of Notre-Dame without her spire. It's accurate, since the original one was demolished during the 18th century prior to this time period, and the building of the one that lasted until the 2019 fire did not begin before 1845. Also accurate? The depiction of the area of Saint-Michel as one huge dirty hovel. The uniforms Javert and the constables wear also count: the 1823 version sports the fleur-de-lis, the traditional symbol of the French monarchy. On the 1832 version, it has disappeared, since the July Monarchy had dropped its use in 1831. Avoided entirely in the opening scene however, which uses the wrong version of the French flag. Sickening "Crunch! ": In " Javert's Suicide" Signature Style: The film, like The King's Speech, is filled with distinctive walls with distressed layers of paint, eye-catching bricks, or battle damage, along with an unsteady and claustrophobic camera. Slasher Smile: The john who tries to rape Fantine. Stealth Pun: After the final battle at the barricade, when Valjean flees with Marius into the sewers to avoid capture, there is a shot of Javert searching for him with that Determinator face he has. Cut to Valjean in the sewers, and the background music is now the melody of the Work Song from the beginning, when it was accompanied by the lyrics "look down, look down". Take a Third Option: Javert's solution of whether To Be Lawful or Good — morally, he can't continue to harass a man who saved his life, but legally he can't let a convict go free — is to kill himself. A Taste of the Lash: Valjean is not shown being flogged during his time as a convict, but in the "Work Song", he's got injuries suggesting that it's happened to him. That Poor Cat: In "Master of the House, " we see Thernardier chopping off a cat's tail and placing it in a mincer to pretend it's beef. Thousand-Yard Stare: Marius sports this briefly after the events at the barricade. It takes a love song from Cosette to pull him out. And another one, though brief, is at the end where the dead people start singing "Do You Hear the People Sing? (Reprise)". As he was hugging Cosette, his gaze briefly, but perceptibly, shifts into this - Word of God has stated this is because Marius can actually hear them singing. And that Marius is one foot in the real world with his wife, the other in the afterlife with all his dead friends. Timeshifted Actor: Isabelle Allen as young Cosette and Natalya Wallace as young Eponine. We Have Reserves: The soldiers who crushed the revolt. There's so many of them that their dead weren't even properly gathered, in contrast with the students who laid side by side. Wham Line: You just know the ABC's are definitely doomed. "CANNONS"! What the Hell, Hero? : How Fantine responds to Valjean's intervention in her arrest - he might not recognize her, but she clearly recognizes him as the factory owner whose refusal to intervene months ago led to her being fired and eventually forced into prostitution in the first place. Fantine: You let your foreman send me away - yes, you were there and turned aside! Not all of the students are happy about Marius' gunpowder stunt. Combeferre (the blond in the blue vest and red tie), in particular, practically shouts at Marius' face, "What were you thinking, Marius?! You could have gotten us all killed! My life is not yours to risk, Marius! " Where It All Began: Valjean dies in the convent where his life began anew. He even brought back the candlesticks the Bishop gave him. Would Hurt a Child: Gavroche, even more so than in the stage adaptation, with a long, extended scene of him defying a soldier's orders and getting shot at while singing "Little People", until the soldier eventually hits him square for the kill, with no Gory Discretion Shots to hide the fact that a soldier just killed a child. You Are Number 6: Javert insisting on calling Jean "24601" even after Jean has been paroled. You Have No Chance: Said word for word by the Loudhailer to Les Amis.
≈Without Membership≈ Free Full Les misérables - by
myobolaci1984, February 23, 2020
4.0/ 5stars
Well what can be said about friends that hasn't been said countless times before? Friends has been analysed and dissected so often that it's a wonder that the six actors aren't covered in bruises! There is really nothing left new to say, so all that I can do is say it again in my own, inimitable way.
I am the earliest I have ever been. Hope you feel better soon nogla! ♥️. Movie watch friends season.
Movie Watch friends for life. Watch best friends movie. Movie watch friends youtube.
Idi i gledaj ruski film sa prevodom. You blackguard. “Come and See” isn’t what I would pick for a Christmas movie, but it’s what we had at home from Netflix that still needed watching. I didn’t expect much from it other than “war is horrible” and “the germans were evil” and that’s pretty much what we get. In showing terrible brutality and suffering, it avoids dealing with the really scary aspects of war such as one gets from an exhibit like the one labelled “ A Monstrous Mediocrity ” over at Suicide of the West. However, one thing the movie shares with that exhibit is a Nazi soldier taking some snapshots with a personal camera. I also re-watched some of the interviews on the Commissar bonus materials DVD. One thing I had somehow missed was that Alexandr Aksoldov was kicked out of the Communist party twice. The second time was under Perestroika, when most other banned films were being released. His was not. The reaction to the proposal was to instead kick him out of the party again and bring up old charges against him. Raisa Nedashkovskaya’s interview made me put Commissar back in my Netflix queue for viewing sooner rather than later. I remember the scene she was talking about, but I didn’t realize it featured an interweaving of Russian and Jewish lullabies. She sings both of them nicely, but I want to see (hear) again how it was done in the film.
Are there any documentary films on Klimov. 
Come and See (Иди и смотри / Idi i smotri) is a harrowing Soviet war movie directed by Elem Klimov in 1985. The film is based on the 1978 novel, I Am from the Fiery Village (Я из огненной деревни / Ya iz ognennoj Derevni) by Ales Adamovich. Together Klimov and Adamovich wrote the film’s screenplay. The film has come to be considered one of the greatest war films of all time. The best way to describe it is that it’s an amazing film that will ruin your day. It’s just one of the most devastating movies there is. So, be warned – Come and See is not of the same ilk as Klimov’s other most famous movie, the uproarious comedy, Welcome, or No Trespassing. The way in which Come and See was made gives some indication to how horrific it is to view. The shoots were dangerous – real flamethrowers and real bullets were used just feet away from actors. These difficult scenes changed the actors considerably over the course of filming. Aleksei Kravchenko, who played the lead, Flyora, as a 13-year-old, developed a full head of grey hair and wrinkles during the nine months of filming. Come and See – hell on earth Come and See is so nightmarish that it depicts an earthly hell. In fact, the film’s name is an allusion to the refrain from the Book of Revelation and its description of the apocalypse. This view of the Second World War as an apocalypse fundamentally distinguishes the movie from previous works of Soviet war cinema. They would traditionally present the events of the war in either a heroic or lyrical manner. Klimov, however, presents a view of the war as a world of madness and demonic possession. Not only people, but also animals are drawn into this horror. We see a stork soaked in the rain, standing motionless in the forest. It has nowhere to go and no one to fly to with glad tidings. Later, we witness the dying spasms of a cow ripped apart by a machine gun. The film attacks every sense possible, including sound. The loud crashing of bombing and gunshot deafens your ears. Meanwhile, emaciated human voices appear muffled and distorted by some sort of eternal ringing noise. Ordinary sounds are not safe, as they transform into ominous signs. Flies buzzing becomes a harbinger of a terrible pile of corpses slaughtered in Flyora’s village. Amid the sensory overload of the movie, sometimes a line will jump out that makes your skin crawl. Amid a thunderous cacophony of barking dogs, roaring engines, curdling wails, billowing flamethrowers, and chattering machine guns, a German soldier directly addresses the viewer: “You should not be. Not all nations have a right to the future. ” «Вас не должно быть. Не все народы имеют право на будущее». Resolution to the madness But Come and See is not just a chilling nightmare. It is much more profound than just that. The film’s resolution displays its message of the indestructibility of good and humanity. Having survived the horror of a barn full of villagers being burnt alive, Flyora takes a rifle and shoots a portrait of Hitler. Each shot by this now gray-haired, wrinkled teenager seems to turn back time in a newsreel of Hitler’s life. And the younger he appears, the more violently Flyora continues to fire. That is, until a photograph of Hitler as a child appears – a defenseless baby sitting in the arms of his mother. Seeing this, Flyora freezes in horror and then lowers his gun. His inability to shoot a child, no matter who he is, restores the world in tragic harmony.
Emperor palpatine rise of skywalker. Emperor justinian. Emperor. Emperor's new groove. Emperor theme. Emperor dnb. Into the infinity of thoughts. thoughts of upcoming reality. Emperor palpatine death. Just bought this tonight on colored vinyl (red) the 2017 Candlelight repress. I also bought In The Nightside Eclipse (blue) also the 2017 vinyl repress. I'm so glad cuz these versions sound/look incredible and now I own Emperor's EP, In the Nightside Eclipse, Anthems to the Welkon at Dusk, Equilibrium IX, and Prometheus all are the 2017 newly reissued and mastered specifically for vinyl colored records. Once I have Wrath Of the Tyrant my Emperor collection will be complete. Long live the Emperor.
Emperors palace. Emperor pilaf. Un excelente disco de esta grandiosa banda, el escucharlo te lleva a un viaje profundo a la obscuridad. De lo mejor, música, letras y voces. Prince Charles: This is the second time I witness Japanese prince becoming the emperor. Aku anak awam pun, kalo ngeliat ini. serasa kayak turnamen beneran. MANTAP EMANG EVOS BUYUT INI... 🤘🤘🤘.
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