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Les Misérables (2012) [Blu-ray]

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Product description Les Miser(Br+Dv+Dc+Uv Les Misérables is a deeply powerful film that's rich with raw feeling, the grittiness of life in 19th-century France, and the conflict between right, wrong, and the concept of redemption. Les Misérables takes viewers on an emotionally exhausting journey as it follows ex-convict Jean Valjean (Hugh Jackman) after his release from prison. Valjean breaks parole, but he is granted a second chance by a kind bishop. He then moves from place to place throughout France, trying to live an honest life while ruthless policeman Javert (Russell Crowe) hunts him relentlessly. Valjean meets the broken-spirited Fantine (Anne Hathaway), promises to care for her daughter Cosette (Amanda Seyfried) as Fantine is about to die, and finds his own life completely changed as a result of that promise. Like the stage play, the film is dark, gritty, and passionate, but it enhances the sense of place in early- to mid-1800s France as a staged version simply cannot. The intricately woven plot is somewhat easier to understand here, thanks to an abundance of visual cues and the camera's unique ability to focus in so closely on the actors' faces. In fact, the intimacy of the extreme close-ups used throughout is at once uncomfortable and hugely effective. The vocal performances are generally quite good, especially considering the decision to record them live versus the customary overdubbing. Sure, some of the actors' voices seem pushed and strained at times, but that fact often only adds to the emotional intensity of the moment. Hathaway's performance is stellar, both for her vocal prowess and for the depth of feeling conveyed and maintained in her facial expressions throughout even the lengthiest and closest of close-ups. While Crowe seems an odd choice for Javert and is definitely outsung by the other members of the cast, he holds his own when it really counts with solos that are on-pitch and arguably even more powerful for their imperfections. Discerning listeners will not choose the film's Highlights from the Motion Picture Soundtrack over the full-length London or Broadway cast recordings, but sometimes an outstanding performance isn't all about musical perfection--the overall Les Misérables film experience is definitely one of those cases. New for the film is the song "Suddenly," written by the musical's original composer and lyricist Alain Boublil and Claude-Michel Schönberg. Trivia buffs will note that the bishop is played by Colm Wilkinson, who originally played Valjean in the London and Broadway stage productions, and Whore 1 is played by the original London and Broadway Eponine, Frances Ruffelle. --Tami Horiuchi


Digital Copy Expiration Date ‏ : ‎ April 30, 2015


Aspect Ratio ‏ : ‎ 1.851


Is Discontinued By Manufacturer ‏ : ‎ No


MPAA rating ‏ : ‎ PG-13 (Parents Strongly Cautioned)


Product Dimensions ‏ : ‎ 6.75 x 5.35 x 0.45 inches; 4 Ounces


Item model number ‏ : ‎ MHV61125042BR


Director ‏ : ‎ Tom Hooper


Media Format ‏ : ‎ Multiple Formats, Blu-ray, AC-3, Color, Dolby, Subtitled, Widescreen, DTS Surround Sound, Ultraviolet


Run time ‏ : ‎ 5 hours and 16 minutes


Release date ‏ : ‎ March 22, 2013


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Top Amazon Reviews

    • A mixed bag with some pleasant surprises
I guess I need to begin with my background with the show. I am a longtime (but not diehard) fan of the musical. I've had the chance to see a touring production and own both anniversary concerts as well as several different cast recordings, so I consider myself a relatively well versed fan. (By the way, it really bothers me when someone who didn't like the movie says, "Oh, I'm not a fan of the musical, but I'm sure fans will love the movie." If you are not a fan and don't know anyone who is, I don't think you're qualified to say what fans will or will not like. Anyway, I just had to get that rant out of the way.) I was both excited and guarded when this movie was announced. After some of the recent musicals Hollywood has tackled, I wasn't sure what to expect. I'm pleased to say it was a commendable effort, and the producers and director were fearless enough to experiment with both the long-running tradition of Hollywood musicals and a work as well loved as Les Mis. The biggest pro for me is probably the acting, with a few exceptions I'll mention below. This is where I think the live singing really worked, as it liberated the actors to really act and play off each other. But I feel like Tom Hooper was often operating under the mystifying idea that one cannot sing in the "stage" style and still act realistically. First, anyone even remotely familiar with music can tell you that the best performances are the ones that tap into the emotions in the music. Perhaps he didn't want to turn off audiences who did not enjoy musicals and tried to appeal to them by taking the music in a different direction. All I can say is, the main reason I personally enjoy musicals is because of the MUSIC. Second, musicals as a genre are not realistic; there is nothing realistic about people spontaneously bursting into song. If I want realism, I'll watch one of my adaptations of the novel. As I said, I can't really figure out the reasoning behind this idea, but it obviously hasn't bothered a lot of people. Now, I'm normally a purist, but I'll admit the numerous changes and excisions didn't bother me (for the most part), but many will undoubtedly find them distracting and/or annoying. Things I wished they hadn't changed are the reduction in Éponine's role and the moving of "I Dreamed a Dream." Things I wish they had changed are some of the keys in the songs and the sequence of events. By the latter, I men that it still felt TOO much like the musical; you could easily see where the intermission would go. I think in this area, they were too eager to remain faithful to the stage show, where they didn't take full advantage of the film medium. (I did like many of the book influences they threw in, though.) The cinematography and effects were a real disappointment. They had a chance to give us some really sweeping scenery and some great action during the battles. Instead, we get a lot of poor CGI, closeups, and shaky cam. Maybe Hooper decided that we could get all our wide shots watching the stage, so we needed a ton of closeups in the film to capture the actors' emotions. Again, it was a good theory that just didn't work in practice. As for the individual performances, I'll just go through some of them. I'm going to preface this by saying once again that I did not like the style of singing used in the film, but I acknowledge it for what it was meant to be. So when I say I didn't like someone's singing, I mean I thought it was lacking in some other way. HUGH JACKMAN: I was really excited when I heard that they'd cast him. I thought he was a perfect choice, a fabulous actor with stage experience (a Tony to boot), a box office draw to please the producers, and he really looked the part. Well, as usual his acting didn't disappoint, but I was surprised at how rough the singing was. I think perhaps the songs were too big for him (he murdered "Bring Him Home"), and I think this is a role generally unsuited for a baritone. This is one place I'd have preferred some key changes to the straining, awkward notes. Looking back on Hugh's work, I think he would have been more suited for Javert, whose songs have a range more suited to his voice; plus I have no doubt that he could be a very threatening yet also sympathetic Javert. Which brings me to... RUSSELL CROWE: Let's face it, he can't sing. That's fine, I can't either; it's not his fault. But I think this really affected his acting, because rather than liberating him to really act, he seemed to be constantly focusing on hitting the right notes. It was a very bland, very disappointing performance for such a wonderful character. (It was particularly painful when Hadley Fraser showed up later in the film and I was thinking, they had a stellar Javert right on set and yet we end up with...this. But I digress.) Like Jackman, he murdered his character's Big Solo, "Stars." Not the biggest letdown, because I hadn't really formed any expectations, but still a disappointment. ANNE HATHAWAY: She's another casting choice I was really looking forward to seeing. I knew she had a lovely voice, and given her mom's history with the role, I was eager to see what she would do with it. Her acting was good (I wasn't as big a fan as some), and she was up to the numbers vocally, but I just don't think her performance merits all the attention it's gotten, let alone an Oscar. (Yeah, yeah, boo me all you want.) Some of it just felt like she was screaming "Oscar nomination!" The sobbing through "I Dreamed a Dream" really alienated me. While realistic, it felt much too overdramatic. The more restrained grief is always what brings me to tears, because you can see how hard the character is trying to hold it together when they know everything's lost. AMANDA SEYFRIED: Yet another one I had high hopes for. I loved her in Mamma Mia, and I thought if she could tap into that innocence and sweetness, she'd be great. Well, she did, to an extent, but I feel like she was trying too hard sometimes to be dramatic. Her voice was also thin and uncertain in many places (surprising, because she sounded so good in Mamma Mia). On the plus side, her Cosette was a genteel bourgeoise, which I appreciate because Cosettes often tend to be a little airheaded. I see Cosette as being more naïve, as opposed to ditzy. I could not stand the way they kept saying Cosette, though: C'sette. Her name is Coh-sette. But I digress. EDDIE REDMAYNE: Probably the surprise performance for me. I didn't know anything about his singing beforehand, so I had no expectations. I thought his Marius was a good balance of the starry-eyed lover and the student revolutionary. We don't get to see Marius as a revolutionary all that often; he spends most of the show mooning over a girl he's just met, but his part in "Look Down" does suggest that he's been very dedicated to their cause. Eddie's "Empty Chairs" was also wonderful (for the film style, again), very moving, and here I again refer to my preference for more restrained grief. He was probably my second favorite, after... SAMANTHA BARKS: Definitely the standout performance for me. But that was no surprise; I had seen her in the 25th anniversary concert and thought her acting was spot-on there. She's evolved the character since then, and some of the scenes with Eddie were really touching. I can't say enough good things about her, really, and I think the more intimate style of singing really served her character well. "On My Own" was probably the highlight of the film for me.. I look forward to seeing her on the silver screen again. SACHA BARON COHEN/HELENA BONHAM CARTER: Two more disappointments for me, especially Helena who can be so good at the comic-yet-sinister portrayal. I thought they were both on the bland side. "Master of the House" was really sleepy. Strangely enough, I think they were both trying to play up the comic relief, completely missing the idea that the Thénardiers have a much darker side. (He goes through the sewers and steals from the bodies of the dead students!) So I didn't think they were either funny or sinister, thus a disappointment. AARON TVEIT: Forget Jackman, forget Crowe--THIS was the real letdown of the movie for me. I'm including him because I'm just so disgusted by the reception his uninspiring performance has gotten. He is probably the worst Enjolras I've ever heard. Enjolras is charismatic, confident, and passionate. These boys worship him and are willing to follow him anywhere. I felt like Aaron was inviting his friends out to tea, rather than to their imminent deaths. I want to feel like marching out in the streets with banners flying when I hear him. Instead, I just find myself wanting to skip through all his parts because, quite frankly, they were just boring. Aaron could have been one of the Amis, but they needed a much more powerful actor for Enjolras. Do NOT think that this tepid performance is what Enjolras is really like. The guy probably rivals Javert for fanaticism--but then, Javert was pretty bland in this too, so perhaps that doesn't tell you much if you've only seen the film. Think about it this way: he has no qualms about leading his friends to their deaths, or giving his own life, for a cause he believes in. And in turn, his friends are completely loyal to him. Please, movie-only viewers, go and watch Ramin Karimloo or Michael Maguire in the anniversary concerts if you want to see a real Enjolras. Do not EVEN attempt to write an Enjo fanfic if Aaron Tveit is your only exposure to this character, because I will hunt you down, tie you to a chair, and make you watch both concerts before you get anywhere near your fic again. (Okay, breathe. Sorry, but Enjolras is probably my favorite character from the show and seeing his character destroyed like this makes me want to scream.) Besides "On My Own," the highlight of the film for me was unquestionably Colm Wilkinson's cameo. And, as they said in one featurette, it was quite symbolic to see him handing the candlesticks over to Hugh Jackman--"passing on the torch," almost literally. It's a solid film with a lot of good ideas that I hope to see developed and expanded on in the future, but not all of them worked here. I don't feel the film deserves all the accolades it's been receiving, but it's opened up the world of Les Mis to a new audience, so I count it as a positive overall. I recommend all fans of the musical see it at least once to form their own opinions, if only so they can chime in during conversations about it. ;) B+ ... show more
Reviewed in the United States 🇺🇸 on February 26, 2013 by Kayla
    • A Lot Wrong, But A Lot Right
I am a longtime fan of the Broadway show (original cast including Colm Wilkinson). I went 3 years refusing to watch this movie because while I knew for certain several of the actors involved had singing backgrounds, I wasn't convinced they wouldn't butcher the thing, and pretty much figured I'd be sorely disappointed after having seen the Broadway musical. I was half-right. Given that the actors in question were hired for their names rather than their actual fit for the role, I have only a few real quibbles. First, Russell Crowe, oh dear God in Heaven, should not be allowed to try to sing. I found his forced vocals throughout the entire movie to be so distracting (I kept wondering when he'd break his voice box) that it became torturous to watch any scenes containing Javert. Interestingly enough, it seemed Crowe was trying SO hard to get the vocals right that he had nothing left to concentrate on actual acting. I never believed for one moment that his Javert was as hell-bent on the law and capturing Valjean as the lyrics lead us to believe, unlike the Broadway actors before him. He was stiff and (ha-ha) looked petrified every time he was on-screen. There was NO chemistry at all between him and Jackman, which is so crucial to their interplay throughout the musical that its absence was almost painful. Hugh Jackman was 100% the right vibe and ability to portray Valjean. Unfortunately, Jackman's a baritone and Valjean's a tenor. While Jackman hit the notes thanks to vocal coaching, I was (same as Crowe) waiting for something to pop inside him, because it sounded so awfully strained when he sang most of the songs. The higher he went in an unnatural register for him, the more nasal and strained his voice got. Once again, as with Crowe, it was highly distracting from the tale, as was his lack of chemistry with his arch-rival. He had more chemistry with the child Cosette and with Fantine than he did with the person he spent the most time with throughout the entire length of the film (Crowe). While Anne Hathaway was remarkable (and is a trained singer and wasn't trying to sing out of her natural range) - yes, she deserved the Oscar she received - the problem I had with her playing Fantine is that her vibe was way off. Fantine has to be completely vulnerable, with no hint that she's any more capable than a wretched, put-upon, done-wrong-to woman. Fortunately for Hathaway, but unfortunately for her portrayal of Fantine, she vibes as a woman who's totally capable of anything...who's very strong. Absolutely the wrong feel for Fantine. She did, as I said, a wonderful job with the part, and thoroughly deserved her award...but she wasn't the right fit for the character. I adore Amanda Seyfried, and have since I saw her in "Mamma Mia!" That girl can SING. Once again, however, they took a very beautiful actress with a name and forced her to sing so far outside her vocal range that I was waiting for glass to shatter (or for HER to shatter). Seyfriend is not a mezzo-soprano, nor did the Broadway version of adult Cosette sound like the old Disney Snow White or the old Disney Cinderella, which unfortunately is what Seyfried sounded like. The far-too-high-pitched and far-too-warbling soprano were not at all natural for Seyfriend, and made me dislike her songs terribly...when normally I love them. The other problem I felt with Seyfried being cast is that she's beautiful, yes, but she's "modern" beautiful rather than "classic" beautiful. In a period piece like this, it throws you. The little girl who played child Cosette (Isabelle Allen) was absolutely spot-on perfect - what a gorgeous and talented child. And so was Gavroche (Daniel Huttlestone). Very believable, both of them. Having come from doing this on Broadway, Samantha Barks was perfect as Eponine because when she got the role - for theater - she was hired because her voice and her vibe were right for the part. It's why she worked. My issue with Marius (Eddie Redmayne) is largely his look was wrong. His voice and vibe were perfect, but he just didn't resemble the classic drop-dead gorgeous young student from this time period. Like Seyfried, he's good-looking in a more modern sense that just doesn't work if you're trying to convince me he's from olden-days France. I also felt no chemistry whatsoever between Redmayne and Seyfried, which doesn't work at all considering they're supposed to be love-at-first-sight starcrossed young adults. Aaron Tveit was marvelous as Enjolras. Absolutely outstanding. Helena Bonham Carter was perfect for Madame Thenardier because it's a wild, crazy role and that's what she does best. Plus she can sing well enough to carry it off. The role is meant to be humorous and Carter fits the bill. The same for Sacha Baron Cohen's Thenardier. It's supposed to be an outrageous, larger than life character, which is why he worked. Trying to fake the French accent was ridiculous...at least, I hope that's not how he really sounds. Would've been better to just do it in his normal accent like Carter - the fake French sound was distracting. The single funniest thing with these two for me in the film, was something I wish they'd incorporate into the Broadway version, actually, and that was Thenardier constantly getting Cosette's name wrong when talking to someone else. "Colette," et al. That was HILARIOUS and really added to the believability of the Thenardiers not caring a whit for Cosette. Having listed all my complaints (well, not all of the above were complaints), you'll note that I still gave the film four stars. Because it had some amazing points that really made me apt to watch it again in spite of the assault on my eardrums and uncomfortable vibes. The sets were unbelievable. Absolutely authentic, beautiful, amazing...very, very, very well done. I never for a moment didn't believe I was where the movie said I was. Outstanding work. They sang it live on camera when it was filmed. (Which explains why Crowe looked petrified throughout the movie.) But that just makes it SO authentic, that even though most of them aren't singing in the right ranges for their voices, just the idea that they had to do this live on set rather than it being recorded in a studio and dubbed later...and the fact that the music was added to match what the actors had done in the scenes...makes it a wonderful ride if you keep that in mind. I think the director (Tom Hooper) was spot-on with that decision because it made the whole thing feel REAL. And that's not something you often get in musical films...you only get that feel (usually) in the theater. So bravo to Hooper and bravo to the entire cast for managing to pull that off! My final comment is in regards to Colm Wilkinson, who is the one and only Valjean for me. I was so pleased to see him playing the Bishop...to see him in the movie, period. Although I admit it was REALLY weird to watch him singing to Jackman's Valjean, because my brain kept going, but wait, HE'S Valjean - does not compute!!! I don't know if Wilkinson's voice isn't what it used to be or what, but I suspect it's the out-of-range thing again. Wilkinson's a tenor, but the Bishop's down in the bass range with his vocals, so even though I was ecstatic he was there (and pleased to see him included at the end in Valjean's death scene), that was only because I love the actor. Unfortunately, he didn't do so well with the Bishop's lyrics but heck, him I give a pass because he made "Les Miserables" what it is today (at least in the States) so he gets grandfathered, period. The acting is superb, it's just that using names does not, and never will, give you the same feel as when you watch it live on stage with people who were picked for the roles because they fit it in voice, in vibe AND in skill. ... show more
Reviewed in the United States 🇺🇸 on January 20, 2015 by Christine P. Rose

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