My first movie review! - All done "On My Own!"

Well, I'm back!  But this time, it's with a review!

I saw the new Les Miserables movie today and was literally writing this blog in my head as I saw it.  Guess the writing bug really has bitten me a bit, so I better scratch the resulting swollen, mass of oozing - umm....I am guessing my readers might not enjoy this line of metaphor, so I'll just start with -

First - why do I feel like I have a right to share my opinion and say much of anything about this movie?  Several reasons in MY head...

1) I love this musical.  I have seen it many times, watched the PBS sing-a-long....wasn't it a sing-a-long?  Because I sure did, and have heard it enough to have heard some of the VERY BEST!

2) I teach several of the songs in my classes.  I have been teaching Musical Theater now for about 17 years and use several of the songs for lessons with the kids.  This music SHOULD get under your skin - you should go home humming it, even if you're off pitch, so why should my students not have the same comfortable affliction?!

3) Having directed musicals for the past 9-10 years, I have learned by my mistakes.  I have been thrilled to direct Godspell, Fiddler on the Roof, The Sound of Music, and Joseph...Dreamcoat to name a few.  Each one has taught me so much.   I always enjoy singing and acting in a show, but directing gave me a desire to learn even more about the world of telling others what to do on stage!

So, here are my humble thoughts as a musical theater teacher, director and Les Miz uberfan:

I still and will always love live theater first.  I love the fact that, no matter how practiced the actors and professional the group, there is still an element of "I wonder what will happen today?" in any live production.  My favorite stories exist from small mishaps, dropped lines, prop malfunctions, costume changes and many other aspects that you just don't get in the "we can just retake that again" aspect of the Hollywood world.

That being said, I did enjoy all the depth that camera close-ups, special effects and an almost infinite number of set choices can offer.  When you are 50-100 yards away or further and often peering through your binoculars - er... Opera Glahsses {said in my best "rich person voice"} you can't see the facial expression changes and the power that the eyes truly have to communicate.  The most amazing set designers still cannot completely transport the audience to different parts of Paris or England (No, it was not all filmed in France...sorry to let the English tabby out of the bag) and feel the cobblestone under your feet the way the movies can.  Even the violence, not usually something I enjoy, was so much more understood and felt with the special effects the movie used.

Anne Hathaway should get an Oscar.  I'll eat my hat if she's not nominated, at least.  And I don't wear hats.  But, I will go buy a hat and eat it if she's not nominated!  She was fabulous.   I have always enjoyed Fantine and her song and "felt bad" for her tragic life, but Anne made me SOB for Fantine.  I was angry at the world FOR her.  Typically, I love the chest-voiced projection of a big belter on stage, but Anne's delicate beginning of the song, mixed with the utter sorrow that was so evident in the last verse just had my mascara crying mercy!

Russell Crowe, on the flip side of the coin, should've heard "Thank you.  Don't call us, we'll call you" early on.  I am still mulling over the decision to cast him in this movie.  I do understand the Hollywood thinking of putting big name actors in shows to boost ratings or bring people in, but isn't there ANY OTHER actor in Hollywood that was available?!  It's not that Crowe's voice was that bad, it just didn't fit the style of the character, musical, songs, or even the era of Les Mis.  His use of melisma (the bending or sliding into a note) is typical of a crooner or more contemporary music.   He just doesn't have the powerful baritone sounds required of this leading character.   It really made me sad, waiting to hear the angry, commanding tones of Javert and instead feeling like I was hearing a lullaby in a minor key.

A few other general thoughts....I loved Eddie Redmayne's Marius, although it took me half the movie to stop thinking, "He looks so much like Richie Cunningham!"  He has a beautiful instrument and was a nice compliment to the other characters.  Mme. Thenardier was WRITTEN FOR Helena Bonham Carter and Sasha Baron Cohen was a decent Thenardier.  The child actors were fabulous as performers and singers, and I enjoyed Samantha Barks' Eponine, but did NOT enjoy them cutting the opening of "On My Own."

Mentioning the omission of the beginning of that song leads me to a few other musical changes that confused and frustrated me.  Why on earth would you take a portion out of  "Bring Him Home" for heaven's sake or take one verse out of Cosette's "Castle on a Cloud?!"  The movie is already 157 minutes long.  Would 158 have put you into a new challenge of some kind?  You just don't mess around with either of those songs like that.  Shame, shame!  And I will briefly mention that there is a NEW song in this movie that, in my opinion, was completely unnecessary.  I am sure that director Tom Hooper or someone thought it needed some boost in character development or something, but guess what!  It did not.  When I directed Sound of Music, I learned that the song "Something Good" was not in the script and added by Hollywood into the movie (among other big changes.)  I had to add it into our show, knowing that people would be expecting to hear that song at the right moment.  I am hoping that the same doesn't happen with this and in 30 years, people are wondering why the additional song in the movie isn't in the script of the original.

I thought Aaron Tveit's Enjolras was decent, but I would've liked to see a bit more anger and power in both his acting and his voice.  That's one of the strongest singer roles and it just felt like another acting part.  Enjolras is the one who incites them all to fight, to give up their lives for what they believe in.  I'm not sure he would've incited me to go to the grocery store with him.  But his voice was melodic and it was well-sung.  As far as Amanda Seyfried's Cosette, I'll just say that I thought she was fine as adult Cosette.  That's always been my least favorite role, as the high soprano parts tend to almost sound a bit like the chipmunks at times, but Seyfried has a pretty voice and did a good job with the typical "damsel in distress" role.

Finally, Hugh Jackman.  I was pleasantly surprised with his portrayal of Jean Valjean and his singing.  His acting was brilliant - Oscar nod?  I think it depends on who else is nominated, but I think he's definitely worthy of a mention.   Again, Hollywood's talented make-up artists help the transition of the character - I almost didn't recognize him at all in the beginning - but his own development of a man changed by grace was evident.  The point that made me REALLY cry?  Seeing the original Broadway Jean Valjean, iconic superstar Colm Wilkinson as Bishop Digne.   When Jean walks to the Bishop in heaven at the end of the movie and people are thinking "Redemption is complete!  A man saved by grace and the acts of another!",   I'm thinking - "I have his cd!  He's amazing!  Hugh - let Colm sing some more!"

In general, it was good.  I would see it again, but mainly because of the incredible music by Boublil and Schonberg and the memories that each song sparks in my head of various productions through the years.  Hollywood does make things come to life in a special way and it was definitely worth my ticket price.

Finally, my last comment is about the biggest accomplishment during those 157 minutes:  I managed to see the whole movie without breaking out into song and annoying my friends and those around me.

Although.... I did lipsync.

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