#that film was half toulon and half montreuil sur mer

[freddyfreeman]

Guys after rewatching Les Mis 1978 I unironically love the adaptation

[taiteilija]

Les Miserables 1978 is one of these weird adaptations that has so many Bad Choices of Mr Filmaker, but is still fun to watch. I've just watched it last night and I have so many crazy chaotic notions to list!

Perkinsvert! <3 I mean Mr Stiffly Graceful Stick in a Top Hat catwalking down the street wearing what must be the best of 19th century fashon and looking vaguely gay.

The sweetest Valjean... with cute fake moustache!

Whoever gave Perkinsvert the tight white trousers did not really think it through... I can't unsee it now help...

Every prisoner in Toulon looks like a dwarf from Snow White with funny cap and big ass beard and hair which makes it difficult not to laugh.

Lots of typical 70s/80s absurd fake hair, fake blood, fake deaths and the Very WeirdTM acting choices, like Valjean running from police officers is so damn funny and so unrealistic that I actually love it!

Valjean being the worst escape artist ever. It's like some odd comic relief. Valjean escapes running funnily, he gets caught and talks with Chief Guard Mr Elegant Matchstick Javert and it always goes like: Javert: u have something to say? Valjean: uh, yeah, i'll escape you again and then i'll kill you one day hahahhaha! Javert: + 24601 months for being a shit bye

Another great comic relief: I WISH TO GIVE YOU MY SACRED PROMISE! Every now and then someone will be giving sacred promises. Normal. Sane. Same old, same old. 

Mr Filmaker was like: 'uh, oh, I have 2 h movie to make and have so much time to spare I do not have to hurry so here you have like 30 minutes of Valjean in prison and Javert looking at him intensively and then some... Montreeeeuisuismere... nevermind, I write some town name here... uh, oh, look it's Javert looking handsomely in his black coat and a top hat and then... oh, shit we only have like half hour left and Cosette just met Marius.... ehm... dunno... ehmmm... fight, death, Javert does a flip with no elaborate explanation... ehmmm... Valjean lives! wedding with no guests! credits, credits... good, uh, I made it... SHIT I FORGOT ABOUT EPONINE!'

BTW, why the hell all old adaptations have to change half of the names? Like, is it really that hard for English speaking world to struggle through Montreuil-sur-Mer and go with Monteis Sur Monteis instead or sth or, like in 1998, turn it into... Vigo? Or sth like that... Oh, uh, I see what you did there, like Victor Hugo = Vigo kind of thing... Oh, you think you so clever, don't you?

Speaking of wrong names, Marius said on the barricade something like 'I know this man, he's Monsieur Madeleine'. You tell me Valjean kept the name? Police is looking for you so keeping the name they know, the name of someone as famous as the former mayor of one town is the worst idea ever!

It's actually very Valvert-focused adaptation. So much, in fact, that Mr Filmaker forgot about students, other plots... other characters. *coughs* Eponine. And goes, once again, with this Javert obsession trope more than social injustice trope. In the Brick Javert is actually not that much obsessed  with Valjean, they just keep meeting like in some dumb comedy all by chance most of times. Here we have: *enter Javert* 'who's that random prisoner over there I can totally tell apart for no real reason?' But, well, it's still better than making Javert so plainly a villain like it was in 1998 adaptation (which I gave up somewhere in the middle cause Rushvert was being too much of a villain and too little of an antagonist).

Random daylight barricade with random students and bearded Marius hurts me. All the tension in Paris, the BIG BACKGROUND is simply not there. This film is basically Valjean story and the rest is handled poorly. Well, actually Valjean story is handled well until we get to Paris then it goes super-shortcut and even Javert's suicide is done quickly, daylight, funny flip, no more words as to why. But, huh, it's good Valjean lives, yeah?

Funny, how musical handled the multi-plot and multi-character issues much better than a regular film with no singing in it...

But anyway, I had fun, I laughed a lot and got some unusual plots like Valjean stealing a loaf of bread at the beginning and much more of Toulon than in other adaptations. It's a great film if you are there for Javert and Valjean and shitty if you are there for Les Amis and like... social background? Unfortunately, the feeling that this story is broad and deals with much more issues than Valjean plot is gone here...

Mr Filmaker: ‘BUT HEY WE HAVE PERKINSVERT! Oh, just look as he goeees! <3′

[kainosite]

Les Misérables 2018, Episode 4

If I post the review before the next episode airs in the US that counts as “timely”, right?

The Good

• Extremely South London Éponine is the best thing in this series.  From the moment she steps into Marius’ room, their interactions are absolutely perfect.  Her crass attempt to offer herself to him and her delighted wonder when it fails, Marius’ appalled, half-paralyzed bewilderment at the whole situation and his awkward charity, Davies’ made-up slang for the écu, “You’re a star, are you sure!?”,  Éponine code-switching at the end and then grabbing the bread on her way out, even the noncanonical, nonconsensual kiss – the whole scene is spot-on from start to finish.

As is her reunion with the rest of the Thénardier clan.  The coarse sisterly banter and Azelma’s look of joy when Éponine hands her the stale bread, Thénardier’s petulant ranting, his violence towards Éponine and Mme. Thénardier’s weary indifference to it, his immediate attempt to crush Éponine into submission when she shows any sign of independence or self-worth – it all paints a vivid picture of Éponine’s world, and the juxtaposition to the scene with Marius makes it very clear that her infatuation with him is not about a crush on a boy but rather about getting the hell away from all this.  And I love that she grabbed her five francs back at the end.

• It’s interesting that the miniseries with the most graphically awful Toulon also has the most determinedly reclusive Valjean, and it’s consistent with his experience in Montreuil-sur-Mer as well.  In the novel Madeleine’s fall is precipitated by his carelessness towards his subordinates, first with regard to the consequences of his factory’s morality policy and then with regard to Javert’s feelings.  But that’s all pretty indirect, and Brick Valjean could reasonably feel that he was the victim of an arbitrary misfortune and that if he’d been a bit luckier everything would have worked out fine.  Westjean, on the other hand, was hunted from the moment Javert showed up in town and was personally responsible for Fantine’s downfall.  From his perspective, his attempt to participate in society must seem like a catastrophe.  He might well wonder whether it’s possible for someone in his position to do any good at all, given the debacle in Montreuil.  Both guilt and prudence suggest it might be better to just give up and become a hermit.

• Cosette’s little convent friends.  This miniseries has consistently gone out of its way to place the female leads in community with other women, and it’s nice to see.

• Rivette continues to be excellent even with a silly moustache.

• The Mabeuf + Marius timeline continues to be nonsensical, but I enjoyed their meet-cute and Marius was charmingly obtuse.  I also enjoyed Davies’ commitment to Georges Pontmercy/Mabeuf, which is the only explanation I can think of for why Mabeuf might keep a collection of old newspaper clippings about Georges in his attic.

• Gillenormand is still pitch-perfect.

• This episode was not Quinjolras’s finest hour, but he was extremely done with Marius’ shit, which though not particularly Brick-accurate is a quality I always appreciate in an Enjolras.  Giving him Combeferre’s “To be free” line was inspired.  I’m also impressed by his ability to adjust his rhetoric to match his audience – “Think of the poor veterans living in poverty!” is the way to win Marius to the side of revolution, if anything will.

• The juxtaposition of Javert’s lonely, cheerless bedtime routine and Valjean broodingly watching Cosette at the piano could have been filmed by a Valvert shipper (Look!  They’ll never be complete without each other!), which in a way I suppose it was.

• The police patrolling the Luxembourg Gardens while Cosette is looking around in raptures was a nice subtle touch.  This series plays up the Valjean vs. Cosette conflict more than I might like, but it does a very good job of showing you where they both are coming from.

• THE HANDKERCHIEF SCENE!

• I do appreciate Westjean’s ongoing commitment to self-branding.  Also the fact that they included the chisel scene makes the Coin of Shame a nice piece of foreshadowing.

The Meh

• I suppose it makes sense for a Cosette raised by Shouty Valjean to shout a lot herself.  This Valjean + Cosette pair actually articulate their needs and desires and communicate them to each other, instead of repressing everything and sinking into silent depression.

On the one hand, that’s healthy.  Good for them.  I know people are concerned about the tenor of their relationship, but frankly Westjean has done a better job than Brick Valjean of raising Cosette out of the unquestioning silence of her abuse.  They both adopted a kid who “had suffered so much that she feared everything – even to speak, even to breathe”.  Only Westjean has a kid who doesn’t exhibit the exact same trauma symptoms six years later.

On the other hand, who are these people?

• I do not appreciate Javert’s medal, but I very much appreciate Javert’s resentment of his medal while there’s still a Valjean on the loose.  If we’ve gotta go Bread Crimes let’s really commit to it.

• Sister Simplice is convinced the outside world has become more dangerous.  Sure, I guess?  1823-25 when they came into the convent was a relatively calm period, and there has just been a successful revolution.  Still, this seems like a good time for the show to mention that.

• “Wow,” I thought, “What a perfect choice for the Rue de l’Homme Armé!”  Oh wait, it’s the Rue Plumet which is still mostly orchards at this point.  That said, the garden is fantastic.

• Marius’ wet dream was actually okay.  After the Éponine Peep Show Incident I feared the worst, but there was nothing terribly wrong with it.  Marius had vaguely sexual thoughts about Cosette, his subconscious pulled a bait-and-switch and transformed her into Éponine, at which point he went “Nope nope nope DNW!” and awoke in a cold sweat.  This is not at all an unreasonable thing for Marius to dream, especially in an adaptation that’s dangling Éponine’s sexuality in front of him as aggressively as this one is.  The key theme of Marius/Éponine from Marius’ end, which is that he’s not attracted to her because he understands it’s immoral to fuck starving child prostitutes, comes through loud and clear.

• What a weird way to do the Chaîne scene.  I can see it happening: most Valjeans would never intentionally expose Cosette to a sight like this, but because Westjean is stuck with a Cosette who actually asserts her needs, he has to push back much harder than usual in order to maintain their secrecy.  He doesn’t show her the Chaîne to punish her or upset her – it’s clearly an ill-judged attempt to convince her The World Is Bad and win their argument from the day before, and perhaps also to start a conversation about his own past which will explain why he’s a paranoid recluse.  A bit manipulative perhaps, but that’s well within Valjean’s repertoire, and he’s thoroughly punished for it by the narrative since the whole scheme ends up backfiring horribly on him.  Cosette is not just appalled by this glimpse into the brutality of their society but repulsed by the convicts themselves, and the viewers get an explanation for why Valjean will be so adamant later that Cosette must never learn his true history.

I do think the Chaîne scene is important for explaining Valjean’s Cosette Issues so I’m always glad when an adaptation decides to include it, but on balance I think it works better when they stumble across it by accident.

• The attempted kidnapping at the Gorbeau tenement was fine.  Points for including the chisel and all the “neighbors” slipping into the room, minus points for Valjean punching everyone.  I’m not sure why Valjean thought paying off Thénardier would help anything, but then Valjean has never been the king of good decisions and this Valjean less than most.

The Bad

• I appreciate Valjean’s aspiration to spend the rest of his life hiding in a hole.  I do not appreciate the hard sell on Cosette taking the veil.  It just makes him seem selfish and inconsiderate of her needs, to a degree that he isn’t in the novel.  His “I thought we’d found a home here together where you could grow up and I could grow old, and you could grow old, and I could die, and you could die, and we’d be buried and we’d be together forever! :D :D :D” line is hilarious and adorable in the way it expresses the tragic limits of his aspirations, but I would sacrifice it in order to lose this scene.

• After holding down the fort on costumes and set design for two episodes, the Prefecture of Police sadly let us down this episode.  You guys were doing so well!  No uniforms, no illegal tricolors in 1823 like some adaptations we could mention *cough2012cough*, but now it’s 1832 and suddenly everyone is dressed like an officier de paix and Javert has a medal and they’ve still got the fleur-de-lys up.  Also that blah jacket of navy serge is not what the Prefect of Police’s uniform looked like in the 1830s, lmao.  I mean, for fuck’s sake, it’s fancier than that now.  That thing Chabouillet was wearing in the 1978 movie is also not remotely what the Prefect’s uniform looks like, but at least they bothered to slap some gold braid on it.

I will grudgingly accept the uniforms as a visual representation of the increasing professionalization of the police, Not!Gisquet’s Légion d’honneur is a reasonable reward for him apparently allowing the July Revolution to happen, and I do appreciate them swapping the portrait of Louis XVIII for Louis-Philippe inside, but there’s no excuse for Javert’s medal or the flag.

• Surely the entire purpose of casting Josh O'Connor as Marius is so Marius can be shy and stiff and awkward, and emphasize these qualities by having a face that consists primarily of nose and ears?  Otherwise you could cast someone who actually looks like Marius.

I know everyone shouts a lot in this and he probably needs to be able to shout back to keep up with Cosette, but from his very first words to Gillenormand he’s far too assertive and confrontational.  Part of the charm of Marius/Cosette is how isolated and naive they both are, and how these victims of childhood abuse are able to find in each other a safety they might not find in anyone else.  (Marius’ damage is obvious, and while Cosette’s is more subtle her tendency towards unquestioning acceptance would leave her incredibly vulnerable to the Tholomyèses of the world.)  This adaptation portrayed this kind of mutual refuge very well with Valjean/Fantine, of all things, so it’s weird they didn’t think to do it here.

Of course, Bambersette is healthier than Brick Cosette in some ways so maybe she doesn’t need it so much, but they still need to sell us on the pairing somehow.  Meet-cutes in the Luxembourg are all very well, but handkerchief sniffing can only get you so far.

• I see Fantine’s inability to put her hair up like a respectable woman is hereditary.

• If we have to see this much of the principal-tenant of the Gorbeau House I want to see some parrots, dammit.

• Éponine has a job and we have no reason to assume she’s bad at it, so I’m not going to say she wouldn’t do a sexy peephole dance for her new neighbor the law student.  At this point she knows nothing of Marius’ virtuous chastity; all she knows is that he’s young, male, richer than her, and she’s probably going to be forced to sleep with him for money at some point.  This scene could happen.

But we sure as fuck didn’t need to see it.  Stop sexualizing the starving child prostitute, Davies.  It’s disgusting.

• Speaking of things not to sexualize, why the hell does the dressmaker assume Valjean is Cosette’s sugar daddy and not her actual relative?  It made sense that everyone thought so last week because Valjean was being super shady.  It makes sense for Thénardier still to think so, because Thénardier is Thénardier.  It makes absolutely no sense for random strangers to assume it.  It’s the nineteenth century!  People die in childbirth!  There’s a cholera epidemic!  Teenage girls need their fathers to take them clothes shopping because all their female relatives are dead.  This is not such an unusual scenario that anyone would remark on it, or make highly offensive insinuations about a customer.  And why doesn’t Valjean just introduce himself to people as her father???

Mild, mild Valjean/Cosette is Brick canon and I don’t think we can justly criticize an adaption for including it, but every random passerby shouldn’t be remarking on it.

• On my first viewing of this episode, I assumed that its portrayal of the Amis as tiresome drunken louts could be explained by the fact that Andrew Davies simply didn’t like Enjolras, and probably not the other Amis or the June Rebellion very much either.  The superb barricade sequence in the subsequent episodes demolishes that theory.  Never has it been portrayed so well, and certainly not in any English language adaptation.  But that leaves me at an absolute loss to explain what Davies was doing here.  This is our first introduction to the Amis: they should be likable, so that we will like them.  They are not.

The irony is that it’s not particularly hard to prosecute a case against Enjolras, if you want to complicate his heroism a bit.  Enjolras is ridiculous and slightly insufferable!  Enjolras is a guy who thinks “Citizen, my mother is the Republic,” is a coherent and comforting response when his best friend musically drags your Napoleon eulogy.  I mean, just look at these twats in hats in the Théâtre de la Jeunesse adaptation.  They are highly mockable!  And on a more somber note, Enjolras led a revolutionary cell that misjudged the public mood so badly it got a hundred people killed to no useful purpose.

But Enjolras is not deliberately trying to orchestrate a battle to the death over France’s system of government.  Enjolras had the chance to battle to the death only two years ago, and he’s still here.  What Enjolras wants is to jump up on Lamarque’s casket and have all the National Guards and the troops of the line wave their muskets in the air and say “Yeah, fuck that pear-faced buffoon!  Down with the king!  Vive la république!”  That’s why his side have been quietly trying to propagandize and subvert every military unit in Paris for months, which Davies knows, because Enjolras mentions it himself in Episode 5!  If the monarchy could be overthrown without any bloodshed at all, that would be ideal.

And Enjolras has too much dignity to throw food at anyone, even Grantaire.  If we must take a swipe at Enjolras through the medium of food fights, Courfeyrac should throw food at Grantaire and Enjolras should give him a pious lecture about wasting food when so many are starving.  That wouldn’t be in character either, but it’s at least within shooting distance of proper characterization and it highlights annoying qualities the characters actually have.

• Speaking of annoying qualities characters don’t have, when Courfeyrac is coming off as sleazier than Tholomyès you are doing it wrong.  Courfeyrac knows girls you don’t have to pay, beyond the usual ‘showing them a good time’ expenses.  He does not have to take his dorky virgin friend to a brothel to get him laid!

• Grantaire is a drunk, but he’s a grandiloquent drunk.  That is... his entire characterization.  How could anyone get this wrong?

• That fucking brothel scene.  WHY.

If you must do a Sexual Awakening of Marius plotline, and evidently Andrew Davies must, I think the correct sequence is this: Courfeyrac and Grantaire take him out beyond the barrières and try to set him up with cute girls.  Marius is having none of it, of course; he’s too shy and awkward, girls are scary, he doesn’t want a fling.  Then he sees Cosette in the park and he’s smitten.

A visit to a brothel Courfeyrac is too classy ever to patronize is not in the cards.  The sole redeeming feature of this scene was the fact that Enjolras declined to attend.

This episode was a return to form, and by form I mean the Thénardiers were fantastic and everything else was incredibly fucking uneven.  While I can’t say that this Gavroche will make fun of Enjolras’ rubbish beard, I can say this Gavroche would make fun of Enjoras’ rubbish beard, and that’s what really counts.