Page 18 THE VILLADOM TIMES I, II, III & IV • January 9, 2013 ‘Les Miserables’ features energetic performances by Dennis Seuling “Les Miserables” is the story of Jean Valjean (Hugh Jackman), a man imprisoned at hard labor for 19 years for stealing a loaf of bread to feed his starving sister and her family. Known as prisoner 24601, he is released on parole by the policeman Javert (Russell Crowe). As a condition of parole, Valjean must carry with him at all times identification as an ex-convict, which makes it impossible for him to find work. An encounter with a kindly bishop (Colm Wilkinson) humbles Valjean, who vows to start a new life, but this means breaking parole. Later, viewers see a transformed Valjean as businessman and mayor of a small town. When he is unable to save the persecuted prostitute Fantine (Anne Hathaway), he resolves to provide for her daughter, Cosette (Isabelle Allen, and later Amanda Seyfried). Valjean crosses paths with Javert, who is suspicious that the successful businessman and mayor he sees before him might be prisoner 24601. A cat-and-mouse game ensues as the people’s revolution of 1832 erupts. Valjean must continuously stay one step ahead of the obsessed Javert. “Les Miserables” is adapted from the popular stage musical that was adapted from the Victor Hugo novel of the same name. Opening in London in 1985, the show did not charm the critics. Nevertheless, its initial three-month run was sold out and extended. A Broadway production opened in 1987 and ran for over 16 years. Through the years there have been several tours, and international and regional productions. Director Tom Hooper (“The King’s Speech”) required the actors to sing live when the cameras rolled. Customarily in film, songs are pre-recorded and then lip synched by the actors when scenes are filmed. The effect is to allow the actors to perform “in the moment” -- to allow them to emote more naturally to the lyrics and act the songs. In certain instances, this technique pays off, particularly in Fantine’s number, “I Dreamed a Dream,” performed in a heartrending single take by Hathaway. At other times, however, when there should have been more lyrical editing, the film appears stodgy. To ease the difficulty of editing scenes together when every take is different, Hooper has minimized the angles for most musical numbers. Jackman shoulders most of the weight of this film and is, for the most part, effective in portraying a man transformed from nameless prisoner to revered mayor and benefactor. A strong presence, Jackman manages to convey Valjean’s tender side and his fear that his secret identity will be revealed. The only time Jackman seems out of his depth is when he sings “Bring Him Home” in a key too high for him. He hits the notes, but sounds as if he is struggling with each one. Oddly, Hooper films this number with Jackman in profile looking off to the left. Viewers cannot see the full emotion of this number, which is so crucial to the film’s denouement. After a less than impressive first appearance, Crowe gets better as the film progresses, but he never conveys Javert’s obsession with the law. Javert believes the law is at the service of religion to keep man and society pure and upright in the eyes of God. He fails to question degree of crimes, motivation, or justice meted out. The law is the law, and he is devoted to enforcing it above all else. Crowe’s Javert lacks the tunnel-visioned arrogance and relish of the power his position allows. Crowe’s singing is acceptable, if not exceptional, but his failure to exploit the possibilities of char- Jean Valjean (Hugh Jackman, right) is confronted by Javert (Russell Crowe) in a scene from ‘Les Miserables.’ acter that Javert offers is disappointing. Hathaway provides the heart of the movie, though her role is fairly small considering the film’s 2 1/2-hour-plus running time. Alarmingly thin, her hair shaved, she is deglamorized as much as is possible. Her performance of “I Dreamed a Dream” is meant to elicit tears, and even she tears up singing it. If ever there were an assured Oscar nomination, this is it. Low-life innkeeper Thenardier (Sacha Baron Cohen) and his wife (Helena Bonham Carter) provide welcome comic relief in this otherwise heavy melodrama. They delight in luring unsuspecting customers to their establishment and gleefully robbing them. Initially, this interlude seems out of place, but Thenardier later re-enters the film in a critical scene. The look of the film is epic and sump- tuous thanks to cinematographer Danny Cohen, production designer Eve Stewart, and costume designer Paco Delgado, who capture the squalid Paris of the early 1800s. Movie adaptations of hit Broadway shows have had an uneven history. “Cabaret,” “My Fair Lady,” “West Side Story,” and “Chicago” were notable successes. “Phantom of the Opera,” “Rent,” “Man of La Mancha,” “A Chorus Line,” and “A Little Night Music” were disappointing. “Les Miserables” is a good movie, but not an extraordinary one. Rated PG-13, it is an impressive film with an opulent look, energetic performances, and beautiful music. Compressing Hugo’s substantial novel is an achievement in itself. Telling the story mostly in song brings to life his characters and the troubled times in which they lived.